PAINTINGS  AND  DRAWINGS 

BY 

FRANCISCO  GOYA 

IN 

THE  COLLECTION  OP 

THE  HISPANIC  SOCIETY  OF  AMERICA 

BY 

WILLIAM  E.  B.  STARKWEATHER 


WITH  EIGHTY-SIX  ILLUSTRATIONS 


THE  HISPANIC  SOCIETY  OF  AMERICA 
NEW  YORK 
1916 


PUBLICATION  OF 

THE  HISPANIC  SOCIETY  OF  AMERICA 


No.  96 


Digitized  by  the  Internet  Archive 
' in  2016 


https://archive.org/details/paintingsdrawing00hisp_0 


9 

__  O^,  / i / 6, 


Portrait  Bust  of  Francisco  Goya 

By  Mariano  Benlliure  y Gil 


PAINTINGS  AND  DRAWINGS 


BY 

FRANGISGO  GOYA 

IN 

THE  COLLECTION  OF 

THE  HISPANIC  SOCIETY  OE  AMERICA 


BY 

WILLIAM  E.  B.  STARKWEATHER 


WITH  EIGHTY-SIX  ILLUSTRATIONS 


THE  HISPANIC  SOCIETY  OF  AMERICA 
NEW  YORK 
1916 


Copyright,  1916,  by 

The  Hispanic  Society  of  America 


CONTENTS 


PAGE 

Francisco  Goya  y Lucientes ii 

A Portrait  of  Dona  Maria  del  Pilar  Teresa  Cayetana  de 
Silva  Alvarez  de  Toledo,  Thirteenth  Duchess  of  Allia, 
by  Francisco  Goya  y Lucientes 51 

A Portrait  of  Don  Alberto  Foraster,  In-  Francisco  Goya  y 
Lucientes  71 

A Sketch  for  Esccuas  del  3 dc  Mayo  dc  1S08.  (Scenes  of 
May  3,  1808),  liy  Francisco  Goya  y Lucientes 75 

Seventy  Drawings  in  Sepia,  by  Francisco  Goya  y Lucientes  81 

Etchings  by  Goya  in  the  Library  of  The  FIispanic  Society 
OF  America  16 1 

A Portrait  Bust  of  Goya,  by  Mariano  Benlliure  y Gil 173 

Tn  the  Studio  of  Goya,  by  Francisco  Domingo  y Marcjues..  177 

A Copy  of  Goya’s  Portrait  of  Pedro  Mocarte,  by  Mariano 

Fortuny  i8l 

Victims  of  War,  and  A Carnival  Scene,  1\v  Ifugenio  Lucas  187 


ILdliograpily  of  Francisco  Goya  y Thjcientes 


197 


ILLUSTRATIONS 


PAGE 

Portrait  Bust  of  Goya,  by  Mariano  Benllinre  y GW.. Frontispiece 

Portrait  of  Dona  Maria  del  Pilar  Teresa  Cayetana  de 
Silva  Alvarez  de  Toledo,  Thirteenth  Dnehess  of  Alba, 
by  Francisco  Goya  y Lncientes 52 

Portrait  of  Don  Alberto  Foraster,  by  Francisco  Goya  y 
Lncientes  72 

Sketch  for  Esceiias  del  3 de  Mayo  de  1808.  (Scenes  of 
May  3,  1808),  1)y  Francisco  Goya  y Lncientes 76 

Seventy  Drawings  in  Sepia,  hy  Francisco  Goya  y Lncientes. 
Plates  I-LXX 82,  92-160 

Francisco  Goya  y Lucientes.  From  Caprichos  (Caprices). 

No.  I 165 

A Gaza  de  Dientes  (Hunting  for  Teeth).  From  Caprichos. 

No.  12  166 

El  Sueno  de  la  Razon  Produce  Monstruos  (The  Sleep  of 
Reason  Gives  Birth  to  Monsters) . From  Caprichos.  No.  43  167 

VoLAVERUNT  (They  are  Disappearing) . From  Caprichos.  No. 61  168 

Carlos  V Lanceando  un  Toro  en  la  Plaza  de  Valladolid 
(Charles  V Spearing  a Bull  in  the  Plaza  of  Valladolid). 
From  La  Tauroniaquia  (The  Art  of  Bull-Fighting) . No.  10  169 

Los  Proverbios  (The  Proverbs).  No.  7 170 

Escapan  Entre  las  Llamas  (Escaping  Through  the  Flames) 

Los  Desastres  de  la  Guerra  (The  Disasters  of  JVar).  No.  41  171 

House  in  Which  Goya  Was  Born  at  Fuendetodos.  From 

a Sketch  l)y  Rafael  xA.guado  Amal 172 

Tn  the  Studio  of  Goya,  hy  Francisco  Domingo  y Marques.  . 176 

Copy  of  Goya’s  PortrxMt  of  Pedro  Mocarte,  l)y  Mariano 

Fortuny  180 

Victims  of  War,  by  Eugenio  Lucas 192 

A Carnival  Scene,  by  Eugenio  Lucas 194 

[91 


FRANCISCO  GOYA  Y LUCIENTES 


/ 


FRANCISCO  GOYA  Y LUCIENTES 


There  is  no  artist  of  the  past  of  whom 
biographers  and  critics  hold  more  varied  and 
conflicting  opinions  than  of  Erancisco  Goya.  Of 
Velazquez,  the  man,  and  of  his  rank  as  a painter, 
there  is  but  one  estimate.  The  comparative  sim- 
plicity of  the  Sevillian  master’s  nature,  the  marvel- 
lous approach  to  perfection  which  his  work  makes 
in  its  own  field  and  the  very  definite  way  in  which 
the  field  of  his  work  was  limited  through  character 
render  impossible  any  great  differences  of  opinion 
as  to  his  place  in  art  history.  But  the  strangeness 
of  Goya’s  nature  and  of  that  mirror  of  a man’s 
nature,  his  work,  its  many-sidedness,  its  stridently 
contrasting  elements,  its  extraordinary  mixtures  of 
good  and  bad,  its  oddly  enigmatic  quality,  have  given 
rise  to  singularly  differing  judgments  of  him  and  his 
productions.  Each  of  his  biographers  has  presented 
a portrait  of  Goya,  given  a valuation  to  his  art,  that 
has  varied  widely  with  the  nationality,  the  training 
and  the  sympathies  of  the  author.  While  some  have 

[13] 


depicted  him  as  a man  revealed  in  both  life  and  work 
as  lacking  all  religions  feeling,  all  human  kindness, 
all  patriotism,  others  have  shown  a Goya  believing 
profoundly  in  the  elements  of  religion  if  not  inter- 
ested in  dogma,  a man  deeply  moved  by  the  distresses 
of  humanity  and  despairing  at  the  disasters  which 
overwhelmed  his  country.  Pictures  censured  by  some 
as  grossly  vulgar  have  been  praised  by  others  as 
remarkable  expressions  of  macabre  genius;  the  cru- 
dities of  tone,  the  careless  haste,  the  frequent  and 
grave  faults  of  drawing  to  be  found  in  many  of  his 
works  and  which  dismay  one  critic,  are  pointed  out 
by  the  next  as  necessary  incidents  to,  and  indeed 
proofs  of,  a genius  so  rich,  varied  and  abundant. 

Certainly  to  arrive  at  any  just  estimate  of  Goya 
and  his  art,  it  is  necessary  that  he  be  studied  in  rela- 
tion to  his  time.  He  was  peculiarly  a man  of  his 
epoch.  Velazquez  was  a Spaniard  and  an  aristocrat, 
he  might  have  been  a Spaniard  and  an  aristocrat  of 
almost  any  century.  But  it  is  impossible  to  separate 
(foya  from  his  background.  In  any  other  country  or 
at  any  other  time,  he  would  have  been  an  incredible 
figure.  He  was  not  only  of  his  own  time,  of  his  own 
country,  but  his  character  combined  in  itself  all  the 
elements  of  the  bizarre,  turlmlent  Spain  of  his  day. 
His  art  relleeted  the  savagery,  the  sensuality,  the 

[1^1 


romanticism,  the  disorder,  the  fundamental  melan- 
choly of  the  period  in  which  he  lived,  its  strange 
atmosphere  of  passion  and  conflict.  Despite  its  num- 
berless eccentricities  and  manifest  imperfections,  his 
work  lived,  and,  living,  proves  his  genius.  Through 
it  he  gave  the  w^orld  not  only  visions  of  new  l^eauty, 
ljut  a marvellous  record  of  the  soul  of  the  Spain  he 
knew. 

Francisco  Jose  Goya  y Lucientes  was  born  at 
Fuendetodos,  a village  of  Aragon,  on  March  30, 
1746.  Flis  childhood  was  spent  at  his  native  town  with 
his  parents  who  were  ])oor  laborers.  In  1760,  or  pos- 
sild}'  at  a somewhat  earlier  date,  he  l^egan  his  art 
career  at  Zaragoza  as  a pupil  of  Jose  Luzan 
Olartinez,  in  the  academy  which  that  artist  had 
founded.  Luzan,  who  had  studied  painting  at  Naples 
under  Mastroleo,  \vas  an  artist  of  ability  and  profited 
l)y  a considerable  local  reputation.  Although  Goya 
spent  five  or  six  years  at  Zaragoza  under  Luzan,  his 
work  was  l)ut  little  infiuenced  l)v  the  correctly  aca- 
demic style  of  his  master.  Bold,  headstrong  and 
capricious,  Goya's  life  at  Zaragoza  reflected  his  pas- 
sionate temperament.  Tradition  depicts  him  as  living 
and  working  in  a condition  of  continuous  revolt  and 
as  having  l)een  ol)liged  to  leave  the  city  as  the  result 
of  some  mad  escapade. 


In  his  nineteenth  year,  Goya  moved  to  Madrid. 
His  stay,  however,  at  the  Spanish  capital  was  brief. 
Although  without  a government  pension,  he  decided 
to  visit  Rome,  where  he  arrived  weak  from  priva- 
tion and  almost  without  funds.  Of  his  life  there, 
practically  nothing  is  known  save  that  he  made  the 
acquaintance  of  Louis  David.  The  Count  de  la 
Vihaza  states  that  the  only  remembrance  the  artist 
retained  in  his  old  age  of  his  stay  at  Rome  was  his 
friendship  with  the  French  classicist.  This  friend- 
ship, however,  does  not  appear  to  have  been  continued 
after  the  Italian  sojourn  of  the  two  painters.  In 
1772  he  was  awarded  the  second  prize  in  a compe- 
tition under  the  auspices  of  the  Royal  Academy  of 
Fine  Arts  of  Parma.  The  Moniteur  de  France 
of  January,  1772,  states:  ‘‘On  June  27th  last, 

the  Royal  Academy  of  Fine  Arts  of  Parma  held  its 
public  session  for  the  distribution  of  prizes.  The 
painting  subject  was:  'Hannibal  the  Conqueror,  from 
the  Heights  of  the  Alps  Regards  for  the  First  Time 
the  Plains  of  Italy.’  . . . The  first  prize  for  painting 
was  awarded  to  the  picture  with  the  device : ‘Montes 
f re  git  aceto,’  by  M.  Paul  Borroni,  etc.  The  second 
prize  for  painting  was  taken  by  M.  Frangois  Goya, 
Roman,  pupil  of  M.  Vajeu,  painter  to  the  King  of 
Spain.  The  Academy  noted  with  pleasure  in  the 

[16] 


second  picture  the  excellent  management  of  the  brush, 
the  depth  of  expression  in  the  face  of  Hannibal,  as 
well  as  an  air  of  grandeur  in  the  attitude  of  the 
general.  If  M.  Goya  had  departed  less  in  his  compo- 
sition from  the  sul^ject  of  the  competition,  and  if  his 
coloring  had  been  more  truthful,  he  would  have  ren- 
dered doubtful  the  vote  as  to  the  first  prize.” 

Upon  Goya’s  return  to  Madrid  about  1775,  he 
married  Josefa  Bayeu,  sister  of  his  friend  and  fellow 
painter,  Francisco  Bayeu,  who  had  become  a Court 
painter.  It  is  probably  through  Bayeu  that  Goya  was 
presented  to  Raphael  Mengs,  who  at  this  time  was  all- 
powerful  in  the  art  life  of  Spain.  Mengs,  an  artist 
of  German  birth  trained  in  Italy,  was  a classicist. 
Salomon  Reinach  characterizes  him  as  “the  best  rep- 
resentative of  academicism  before  David,'’  and  adds, 
‘‘If  this  highly  gifted  artist  produced  no  masterpiece, 
it  was  because  he  was  led  astray  by  the  fatal  seduction 
of  eclecticism  which  knows  only  beauty  at  second 
hand.”  He  was  as  much  a theorist  as  a painter,  the 
head  of  an  artistic  renaissance  which  attempted  to 
combine  the  expression  and  drawing  of  Raphael 
with  the  chiaroscuro  of  Correggio  and  the  color  of 
Titian.  Under  Charles  III,  Mengs  had  charge  of 
the  Department  of  Fine  Arts.  As  absolute  master,  he 
directed  the  Academy,  supervised  all  royal  art  manu- 

[1/] 


factories  and  had  control  of  such  decorations  as  were 
undertaken  in  the  royal  palaces. 

Mengs  was  quick  to  recognize  Goya’s  talent,  and 
commissioned  the  young  artist  to  design  cartoons  for 
tapestries  to  be  woven  in  the  royal  tapestry  factories 
at  Santa  Barbara.  The  hrst  design  was  delivered  in 
1776,  and  from  that  date  until  1791  Goya  worked 
intermittently  for  the  royal  manufactory,  producing 
over  forty  paintings,  from  which  two  or  three  times 
that  numl^er  of  tapestries  were  made.  Tapestries  were 
being  woven  from  these  cartoons  at  the  Santa  Bar- 
bara  factories  as  late  as  1802.  For  the  most  part 
these  hangings  now  adorn  the  Spanish  royal  palaces. 
The  weavers’  execution  was  frequently  indifferent. 
Often  they  went  so  far  as  to  make  such  departures 
from  the  design  of  the  artist  as  suited  their  own  con- 
venience. It  is  probalde  that  the  indifference  of  the 
tapestry  workers  to  faithful  reproduction  acted  as  a 
contributory  cause  to  the  unevenness  of  Goya’s  work 
on  these  paintings  and  to  the  fact  that,  as  a whole, 
the  later  cartoons  are  less  carefully  executed  and 
reveal  less  interest  and  enthusiasm  on  the  part  of  the 
artist  than  do  the  earlier  ones.  As  a series,  however, 
they  form  a charming  and  stimulating  panorama  of 
all  the  brighter  side  of  life  in  the  Peninsula.  “In 
these  compositions,”  writes  Paul  Lefort,  “the  intel- 

[18] 


lect,  the  fancy,  the  wealth  of  imagination  of  Goya  find 
ample  expression.  Real  genre  pictures,  the  artist  is 
inspired  in  them  above  all  by  popular  custom.  Full 
to  the  last  degree  of  local  color,  these  amusing  scenes, 
often  enough  improvised,  sometimes  carefully  painted, 
at  other  times  lightly  indicated  and  a little  pale  in  tone, 
are  generally  treated  with  a marvellous  instinct  for 
decorative  effect.  To  be  sure,  the  drawing  of  these 
delightful  compositions  is  not  always  correct,  but  they 
are  so  full  of  movement,  so  gay,  so  picturesque,  that 
one  easily  pardons  the  artist  for  the  haste  and  free- 
dom of  their  execution.”  Until  shortly  after  the 
revolution  of  1868,  these  cartoons  were  packed  away 
in  rolls  in  the  storerooms  of  the  tapestry  offices.  They 
were  then  saved  from  neglect  and  oblivion  by  being 
carefully  restored  and  placed  in  the  Prado,  where 
they  now  hang. 

The  originality  and  abundant  talent  shown  in 
these  works  brought  Goya  greatly  into  vogue.  He 
began  to  receive  recognition  from  members  of  the 
Spanish  court,  and  May  7,  1780,  the  Academy  of 
San  Fernando  opened  its  doors  to  him  as  a mem- 
ber. His  next  important  commission  was  an  order 
to  assist  in  the  decoration  of  the  church  of  Nuestra 
Senora  del  Pilar  at  Zaragoza,  under  the  direction  of 
his  brother-in-law,  Bayeu.  The  sketches  which  Goya 

[19] 


prepared  did  not  prove  to  the  taste  of  the  committee 
in  charge  of  the  work,  which  obliged  him  to  make 
others  and  submit  them  to  Bayeu  for  approval.  This 
was  an  intense  humiliation  for  Goya,  and  until  his 
departure  from  Zaragoza  upon  the  completion  of  the 
work  in  June,  1781,  his  relations  with  his  brother-in- 
law  were  marked  by  great  bitterness  of  feeling. 
Shortly  after  Goya’s  return  to  Madrid,  however,  his 
pride  was  gratified  by  receiving  a commission  for  a 
decoration  for  the  church  of  San  Francisco  el  Grande, 
which  had  just  been  finished  under  Charles  III.  He 
chose  as  his  subject  Saint  Bernard  of  Sienna  Preach- 
ing Before  Alphonse  of  Aragon,  and  worked  on  this 
composition  during  the  next  three  years.  When,  in 
December,  1784,  the  King,  surrounded  by  his  entire 
court,  solemnly  inaugurated  the  temple,  all  the  paint- 
ings were  uncovered  and  for  the  first  time  exposed  to 
public  view.  Goya’s  composition,  unique  in  its  force 
and  originality,  was  by  far  the  most  notable  work 
shown,  and  established  his  place  securely  as  one  of 
the  leading  painters  of  the  epoch. 

Superbly  decorative  as  some  of  Goya’s  re- 
ligious paintings  are,  it  is  not  as  a religious 
painter  that  he  takes  rank.  His  church  deco- 
rations as  a whole  are  unmarked  l^y  any  religious 
feeling,  unillumined  l)y  that  fervor  of  faith  neces- 

120] 


sary  to  the  proper  rendering-  of  spiritual  sidyjects. 
Matheron,  in  writing  of  Goya’s  religions  com- 
positions, notes  with  admiration  their  grandeur  of 
design,  their  grave  and  harmonious  color,  the  audacity 
with  which  their  groups  are  arranged  and  the  wise 
relations  these  groups  have  to  the  whole,  but  states 
that  all  religions  sentiment  is  lacking.  ‘The  artist 
took  care  in  entering  the  sacred  precincts  to  leave  his 
heart  and  soul  at  the  portal,  to  note  that  he  did  not 
believe;  it  is  impossilde  to  attain  solely  by  force  of 
will  and  genius  to  the  production  of  those  sublime 
reflections  of  holiness,  those  beautiful  ideals  of  Chris- 
tianity, those  lovely  figures  which  illuminate  the 
pictures  of  old  Italian  masters,  pictures  so  often 
imperfect  from  the  point  of  view  of  art  and  science.” 
From  this  time  Goya’s  success  was  assured.  His 
career  became  intimately  associated  with  the  Spanish 
court.  In  1785  he  was  selected  as  deputy  director  of 
the  Academy  of  San  Fernando  to  succeed  Andres  de  la 
Calleja.  AAiting  to  his  friend  Zapater  of  his  success 
at  this  period,  he  states:  “I  had  estal)lished  for  myself 
an  enviable  mode  of  life;  I no  longer  danced  attend- 
ance in  an  antechaml)er ; if  anyl)ody  wanted  anything 
of  mine,  he  had  to  come  to  me.  I was  much  sought 
after,  but  except  for  someone  in  a high  position,  or 
to  ol)lige  a triend,  I worked  for  none.  The  more 


I strove  to  make  myself  difficult  of  access,  the  more 
I was  pursued ; each  day  this  has  increased  and  grown 
worse  and  worse ; as  a result,  I am  so  overwhelmed 
that  I do  not  know  where  to  turn  or  how  to  fulflll 
so  many  accepted  engagements.”  “The  whole  of 
Goya,”  writes  Paul  Lefort,  “is  in  these  lines.  Inde- 
pendent, proud,  with  a touch  of  savagery  in  marked 
contrast  to  an  ability  which  closely  approaches  the 
extreme  of  adroitness,  he  is  also  fully  conscious  of 
his  worth  and  is  not  afraid  to  show  unaffectedly  his 
self-assurance.  That  which  he  writes  to  his  friend 
Zapater  of  the  obsessions  of  which  he  is  the  object,  is 
the  exact  truth ; he  is  persecuted,  siege  is  laid  to  his 
door,  his  studio  is  taken  by  assault,  and  to  obtain  a 
picture  or  portrait  from  him  there  is  no  power  of 
influence  or  success  which  is  not  brought  to  bear. 
He  had  really  become  the  spoiled  child  of  the  public.” 
On  the  death  of  Cornelius  van  der  Goten,  Goya 
was  appointed  Painter  of  the  Chamber  with  a salary 
of  15,000  reals  a year.  This  sum  was  increased  in 
1799  to  50,000  reals  and  the  artist  was  given  the 
title  of  First  Painter  to  the  King.  The  years  from 
1780  to  1800  mark  the  period  of  Goya’s  greatest 
activity  and  production.  He  was  in  high  favor  at 
the  court,  where  he  had  become  a fashionable  figure. 
He  lived  the  life  of  a grand  seigneur,  as  had  Van 

[22] 


Dyck,  Riiljens  and  Velazquez.  The  Queen  received 
him  in  her  salon,  as  did  the  Duchess  of  Alba  and  the 
Duchess  of  Osuna  and  Benavente ; he  was  a friend 
of  the  King  and  of  the  all-powerful  Godoy.  During 
this  period  Goya  received  many  commissions  from  the 
royal  family.  He  worked  with  rapidity  and  produced 
a large  number  of  easel  pictures  and  portraits. 
Although  accepted  as  a friend  by  the  aristocracy,  his 
chief  sympathy  and  interest  remained  throughout  his 
life  with  the  lower  classes  to  which  he  himself  be- 
longed. His  intimate  knowledge  of  their  lives  is 
proved  in  the  long  series  of  drawings  and  paintings 
he  devoted  to  them  and  to  their  activities. 

The  greatest  figures  of  Spain  passed  before 
Goya’s  easel  in  a glittering  procession  of  kings  and 
nobles,  actors,  priests  and  courtesans.  With  his  pic- 
tures of  the  lower  classes  and  his  tapestry  designs 
illustrative  of  popular  custom,  they  form  a superbly 
vivid  panorama  of  the  period  in  which  he  lived.  The 
immense  virility  of  his  portraits,  their  truth  often 
brutal  and  pitiless,  at  other  times  mocking  and  ironic, 
renders  them  as  striking  and  compelling  todav  as  when 
painted.  1'hey  show  how  ]wo found  an  understanding 
the  painter  possessed  of  the  psychology  of  his  sitters, 
although  certain  of  these  works  also  reveal  that  he 
was  not  always  interested  in  the  personality  of  those 


he  portrayed.  In  others,  where  the  sitter  appears  to 
have  been  unsympathetic,  he  allowed  the  likeness  to 
verge  on  caricature,  or  carried  his  gifts  for  ironic  and 
satiric  representation  to  the  point  where  the  charge 
of  cruelty  may  reasonably  be  brought  against  him. 
As  a whole,  however,  his  portraits  bear  within  them- 
selves evidence  of  the  justice  of  the  judgments  of 
the  artist.  They  are  wonderful  human  documents ; 
taken  together,  they  form  an  amazing  record  of  the 
qualities  of  heart  and  soul  possessed  by  the  notabilities 
of  the  Spain  of  his  day. 

‘‘The  disposition  of  Goya,  his  great  taste  for 
naturalism,  his  eminent  qualities  as  a painter  and  an 
observer,  served  him  wonderfully  in  the  painting  of 
portraits,”  writes  Paul  Lefort.  “There,  as  a matter 
of  fact,  was  his  true  field.  ...  In  his  portraits  there 
is  something  of  Velazquez,  of  Pruddion,  of  Reynolds, 
of  Greuze,  but  amalgamated,  absorbed  and  fused  in 
an  originality  which  finally,  clearly  frees  itself  and 
predominates.  . . . Perhaps  Goya  in  his  long  career 
painted  more  than  two  hundred  portraits,  but  even 
among  his  most  impetuous  improvisations  there  is  not 
one  which  does  not  redeem  the  careless  freedom  of 
its  execution  by  some  of  the  innate  gifts  of  the  mas- 
ter; however  rapid,  however  hurried  his  sketch  may 
be — and  in  this  direction  Goya  frequently  allowed 

[24] 


himself  real  tours  tic  force  — \t  always  is  alive,  it 
always  palpitates  with  life  and  spirit.”  The  hnish 
of  his  portraits  varied  greatly  with  the  impression 
made  upon  him  by  the  sitter.  Often  the  likeness  is 
brnsqnely  washed  in  at  a single  sitting,  while  at  other 
times  the  work  has  been  carried  through  many  sit- 
tings to  a result  that  in  its  easy  grace  and  charm 
recalls  the  English  portrait  school.  Goya  performed 
for  the  court  of  Charles  IV  the  same  service  of  record 
that  Velazquez  had  given  the  court  of  Philip  IV.  The 
Count  de  la  Vihaza  considers  that  the  royal  portraits 
of  Goya  are  marked  by  a certain  nobility  and  dignity. 
“The  celebrated  canvas  of  the  family  of  Charles  TV, 
the  equestrian  portraits  of  Maria  Louisa  and  her  hus- 
band, those  of  Ferdinand  VII,  and  those  of  the  un- 
happy Godoy,  give  evidence  to  a grandeur  of  spirit 
and  intellectual  and  moral  qualities  which  the  mean 
souls  of  those  personages  did  not  possess.”  Others, 
however,  have  felt  these  canvases  to  have  l)een 
in  nearly  every  case  cruel  works  of  satire.  “A  fat 
gossip,  without  any  distinction,  and  with  the  high 
color  and  impudent  regard  of  an  old  coquette,”  writes 
Lafond  of  the  Queen,  as  shown  in  the  equestrian  por- 
trait ; and  Gautier,  while  praising  the  heads  of  the  King 
and  his  consort  in  the  equestrian  portraits  as  “mar- 
vellously painted,  full  of  life,  of  subtlety  and  spirit,” 


is  said  to  have  declared  that  the  royal  group  resembled 
a grocer's  family  who  had  won  the  great  lottery  prize. 
“In  his  portraits  he  is  a realist,"  writes  Calvert,  ‘‘ver- 
satile, vivid,  often  unflinching  in  his  brutality,  unsur- 
passed when  he  wills  it  in  perfection  of  treatment. 
. . . Goya,  by  virtue  of  his  portraits,  has  been  rightly 
acclaimed  the  legitimate  descendant  of  Velazquez,  and, 
like  the  great  court  painter  of  a previous  century,  he 
is  a magnificent  exception.  But  the  comparison  be- 
tween the  two  masters  cannot  be  pushed  too  far. 
Wlazquez  was  a realist  to  whom  the  world  appeared 
as  a beautiful  vision,  Goya  was  a realist  to  whom  life 
was  always  a drama  and  not  un frequently  a satiric 
melodrama  played  in  the  tempo  of  a farce.  Velaz- 
quez depicted  men  and  women  at  their  noblest ; Goya, 
when  he  was  in  the  mood,  detected  the  worst  that  was 
in  them  and  he  exposed  it  with  a flourish.” 

Living  in  a period  of  great  moral  laxity  and  in 
a court  notable  for  its  license,  Goya's  life  reflected 
the  disorders  of  his  time.  He  lived  as  he  worked,  in 
a spirit  of  audacious  and  even  arrogant  independence. 
Matheron  states  that  his  wife  bore  him  twenty  chil- 
dren, and  continued  to  love  him  and  to  have  influence 
over  him  despite  his  flagrant  and  innumerable  infidel- 
ities. His  liaison  with  the  Duchess  of  Alba  became 
notorious.  She  was  finally  exiled  to  her  estate  at 

[26] 


Sanlucar,  where  Goya  accompanied  her.  Although 
her  exile  w-as  brief,  the  unfortunate  Duchess  did 
not  long  survive  her  return  to  Madrid.  Certain  of 
Goya’s  etchings  appear  to  indicate  that  before  her 
death  the  couple  had  become  estranged,  but  it  seems 
clear  that  their  relations  had  been  marked  by  a con- 
stancy and  depth  of  devotion  not  characteristic  of  the 
painter’s  usual  intrigues,  which  appear  to  have  been 
mere  passing  caprices. 

There  is  little  justification  for  the  charge  brought 
by  certain  waiters  that  Goya  was  a monster  of  selfish- 
ness, without  heart  or  any  kindly  emotions.  He  pro- 
vided his  mother  with  a pension  and  educated  and 
helped  to  place  his  brothers  in  the  world.  His  love 
of  his  children  is  often  indicated  in  his  correspond- 
ence with  Zapater.  The  many  picturesque  traditions 
which  have  survived  of  the  painter’s  career  form 
undoubtedly  a truer  record  of  his  character  than  of 
his  history  ; possibly,  indeed,  their  only  value  is  to 
give  a general  idea  of  the  background  against  which 
his  life  was  enacted.  Goya  is  shown  as  obliged  to 
leave  Zaragoza  and  Rome  as  a result  of  ‘Amorous 
adventures;”  at  Zaragoza  we  see  a Goya  embroiled 
in  street  riots  during  the  rival  religious  processions, 
and  at  Aladrid  he  is  picked  u])  in  the  road  with  a 
dagger  in  his  back.  As  conservative  a writer  as  Paul 


Lefort  states  that  Goya,  being  without  funds  for  his 
journey  to  Italy,  joined  a ciiadrilla  of  bull-fighters 
and  thus  made  his  way  from  town  to  town,  until  he 
reached  an  Andalusian  port,  where  he  embarked.  At 
Rome,  Goya  is  represented  as  studying  ceiling  fres- 
coes from  dizzy  altitudes  upon  the  cornices  of  the 
])uildings,  as  climbing  to  a dangerous  height  on  an  old 
monument  to  cut  his  name  above  that  of  Van  Loo. 
Finally  we  are  shown  a Goya  on  the  point  of  killing 
Mengs,  who  had  dared  to  criticise  one  of  his  pictures 
adversely,  and  as  actually  having  been  saved  by  his  son, 
Xavier  Goya,  from  assassinating  Wellington  because 
the  Iron  Duke  did  not  consider  his  portrait  l)y  the 
Spanish  master  a good  likeness.  It  is  probable  that 
the  painter’s  nervousness  and  irritability  were  intensi- 
fied by  constantly  increasing  deafness.  Some  biog- 
raphers assert  that  he  had  been  annoyed  by  this  infir- 
mity from  childhood  and  that  it  was  greatly  increased 
in  after  years  by  serious  illness.  The  correspondence 
of  Goya’s  son  quotes  another  story  bearing  on  the 
sulqect.  During  the  journey  into  exile  with  the 
Duchess  an  accident  occurred  to  their  carriage.  It 
was  necessary  to  light  a fire  and  straighten  an  iron 
bar.  This  Goya  accomplished.  Fie  became  over- 
heated, a chill  followed,  and  from  this  chill  resulted 
the  deafness  which  in  later  years  l)ecame  nearly  com- 

[28] 


plete.  During  the  latter  part  of  his  life  a frequent 
use  was  made  of  the  sign  language  in  conversing 
with  him. 

In  1798  Goya  received  from  the  King  a commis- 
sion to  decorate  with  frescoes  the  interior  of  the  small 
chapel  of  San  Antonio  de  la  Florida,  which  had 
recently  been  finished.  In  three  months  he  completed 
the  work,  painting  the  great  dome  of  the  building 
with  a vast  composition  including  more  than  a hun- 
dred figures,  somewhat  over  life  size.  He  took  as 
his  subject  St.  Anthony  of  Padua  Restoring  to  Life 
the  Corpse  of  a Murdered  Man,  in  Order  That  He 
May  Reveal  the  Name  of  ITis  Assassin.  Besides  the 
figures  of  this  great  composition,  he  painted  groups 
of  cherubs  and  angels  in  certain  of  the  architectural 
spaces  of  the  ceiling  and  walls.  The  result,  although 
a superb  piece  of  decorative  art,  is  characteristic  in 
its  lack  of  tenderness,  faith  or  mysticism.  The  angels 
especially  are  of  the  world  worldly,  their  loveliness 
l^eing  in  no  way  spiritual,  their  freedom  of  attitude 
conveying  no  suggestion  of  divine  origin.  Many 
critics  have  considered  these  frescoes  to  be  full  of 
irreverent  irony,  daring  satires  directed  at  the  aris- 
tocratic congregation  which  attended  the  little  chapel. 
The  Count  de  la  Vinaza,  who  stated  that  Goya 
“painted  pictures  of  religious  subjects  hut  no  re- 

[291 


ligious  pictures,”  wrote  that  “the  figure  of  the  saint 
is  that  of  an  ordinary  friar  dressed  in  the  manner 
of  the  epoch  and  surrounded  by  majas  in  draped 
mantillas,  ruffians  and  a good  number  of  young 
rogues  from  the  Manzanares.”  He  adds:  “The  mira- 
cles of  the  exemplary  man  of  Padua  are  as  famil- 
iarly treated  as  a spectacle  of  wandering  rope  dancers 
might  be.” 

The  talent  of  Goya,  abundant,  full  of  daring, 
rich  in  ingenuity  and  love  of  experiment,  did  not 
permit  the  artist  to  confine  himself  to  one  medium. 
As  early  as  1778  he  completed  a set  of  etchings  after 
certain  of  the  more  important  paintings  of  Velasquez, 
and  these  etchings  were  acquired  by  Charles  III  for 
the  royal  collections.  They  reflect  faithfully  the 
solidity,  dignity  and  sobriety  of  tone  of  the  Sevillian 
master.  They  were  traced  by  a hand  not  unaccus- 
tomed to  the  needle,  for  Goya,  before  their  appear- 
ance, had  already  produced  several  plates  which,  slight 
in  themselves,  strongly  recalled  the  manner  of  Tiepolo. 
It  was  not,  however,  until  1796  or  1797  when  a series 
of  etchings  known  as  Caprichos  (Caprices)  appeared, 
that  his  great  mastery  as  an  etcher  was  manifest. 
These  Caprichos  are  unique  in  the  history  of  art. 
They  are  absolutely  personal,  entirely  and  intensely 
Goya's : few  artists  have  embodied  their  creative 

[30] 


impulse  in  so  individual  a form.  They  constitute, 
perhaps,  his  most  supreme  legacy  to  humanity.  The 
series  of  etchings  are  for  the  most  part  satires,  bitter, 
fantastic,  often  flagrantly  vulgar.  In  these  works 
Goya  bitingly  attacks  royalty,  the  church  and  its 
dogmas,  the  Inquisition,  the  monastic  orders  and  the 
professions.  He  exposes  with  grim  irony  the  greed, 
corruption  and  foolish  superstition  of  the  period,  or 
forsakes  his  attitude  of  bitter  derision  for  flights 
of  pure  phantasy,  inventing  witches,  demons  and 
strangely  repulsive  monsters. 

The  whole  set  of  etchings  has  a certain  sense 
of  nightmare.  “You  feel  transported  into  some 
unheard-of,  impossible,  but  still  real  world,”  wrote 
Gautier  of  the  Caprichos.  “The  trunks  of  the 
trees  look  like  phantoms,  the  men  resemble  hyenas, 
owls,  cats,  asses  or  hippopotamuses ; their  nails 
may  be  talons,  their  shoes  covered  with  bows 
may  conceal  cloven  feet : that  young  cavalier  may 
be  some  old  corpse,  and  his  trunk  hose,  ornamented 
with  ril^bons,  envelop,  perhaps,  a fleshless  thigh- 
l)one  and  two  shrunken  legs ; never  did  more  mys- 
terious and  sinister  apparitions  issue  from  liehind 
the  stove  of  Dr.  Faustus.”  He  adds:  “It  is  when  he 
aljandons  himself  to  his  demonographic  inspirations 
that  he  is  especially  admirable:  no  one  can  represent 

[31] 


as  he  can,  floating  in  the  warm  atmosphere  of  a 
stormy  night,  dark  masses  of  clouds  loaded  with 
vampires,  goblins  and  demons,  or  make  a cavalcade 
of  witches  stand  out  with  such  startling  effect  from 
the  sinister  background  of  the  horizon.” 

Their  subjects  and  the  brutal  frankness  with 
which  the  subjects  are  often  treated  have  made  this 
set  of  etchings  offensive  to  many.  An  extreme 
opinion  is  that  of  Philip  Gilbert  Hamerton,  who 
wrote  that  Goya  was  ‘Goarse-minded  and  essen- 
tially vulgar.”  As  works  of  art,  there  is  no  ques- 
tion of  their  mastery.  They  are  distinctly  the  works 
of  a fluent  painter.  Their  power  and  freedom  are 
extraordinary.  Especially  interesting  is  their  reve- 
lation of  the  profound  influence  which  the  art  of 
Remlwandt  made  upon  Goya.  In  these  etchings 
Goya  makes  free  use  of  aquatint.  He  was  the  first 
Spanish  painter  to  introduce  the  process  into  his 
country. 

The  Caprichos  were  followed  by  a series  of 
thirty-three  plates  known  as  Tauromaqiiia  (The 
Art  of  Bull-Fighting) , which  depicted  incidents  of 
the  luill  ring.  Only  a few  of  the  plates  were  issued 
during  the  life  of  the  artist,  and  the  set  was  not 
actually  puljlished  in  anything  like  complete  form 
until  the  Calcografia  Nacional  issued  the  series  in 


1855.  In  this  series  of  etchings  aquatint  is  not  as 
freely  used  as  in  the  Caprichos,  and  it  is  characteristic 
of  Goya’s  etching  that,  as  he  grew  older,  he  relied 
more  and  more  upon  pure  line  alone  for  his  effects. 

Amid  the  political  disturbances  that  marked  the 
close  of  the  reign  of  Charles  IV,  Goya  carried  on  his 
work  as  a court  painter  and  produced  many  of  the 
l^est  pictures  of  his  career.  Among  his  notable  achieve- 
ments at  this  period  are  the  Maja  J^csfida  (Maja 
Clothed)  i\\Q  Maja  Dcsniida  (Maja  N ude) . They 
rank  today  as  the  most  celebrated  of  his  easel  pictures. 
In  1808,  when  sixty-two  years  old,  he  saw  the  French 
enter  Madrid  and  was  familiar  with  the  period  of 
horror  and  butchery  that  followed.  Politically,  Goya 
has  been  accused  of  being  an  opportunist.  It  is  true 
that  upon  the  entry  of  Joseph  Bonaparte  as  King  of 
Spain,  Goya  swore  allegiance  to  the  usurper,  that  he 
was  made  a knight  of  the  Legion  of  Honor,  that  he 
added  a portrait  of  Joseph  I to  his  long  catalogue  of 
royal  portraits,  and  that  he  accepted,  with  Napoli 
and  Maella,  a commission  to  select  from  the  treasures 
of  the  Royal  Gallery  fifty  of  its  greatest  pictures  for 
transference  to  the  Louvre.  But  in  acknowledging 
Joseph’s  sovereignty  he  but  followed  the  example  of 
many  of  the  most  powerful  of  his  countrymen  of  the 
dav. 


[33] 


There  can  be  little  question  that  his  heart  was 
full  of  bitterness  toward  the  French  invaders.  This 
feeling  found  expression  in  two  of  his  greatest  can- 
vases, Episodio  de  la  Invasion  Francesa  en  1808 
{Episode  of  the  French  Invasion  in  1808)  and  the 
Escenas  del  j de  Mayo,  1808  {Scenes  of  May  3, 
1808).  The  first  picture  represents  a group  of  Madrid 
citizens  being  executed  by  troops  of  Murat;  the  sec- 
ond, a bloody  fight  in  the  Puerta  del  Sol,  between 
citizens  and  the  cavalry  of  the  French  Imperial  Guard. 
These  pictures  are  two  of  the  most  powerful,  the 
most  gloomy  and  the  most  moving  battle  pieces  ever 
produced.  They  stand  as  witness  to  Goya’s  distress 
at  the  pitiable  condition  of  his  country  during  the 
French  invasion,  and  with  the  series  of  etchings 
known  as  Los  Desastres  de  la  Guerra  {The  Disasters 
of  War),  commenced  about  this  time,  offer,  were  it 
needed,  a proof  which  refutes  any  theory  that  their 
author  was  lacking  in  patriotism.  Los  Desastres  de 
la  Guerra  consists  of  a series  of  eighty-two  plates, 
which  were  not,  however,  published  as  a collection 
until  1863.  In  these  superb  designs  Goya  gave 
artistic  expression  to  the  terrible  events  he  had  wit- 
nessed during  the  Peninsula  War.  All  the  horror, 
the  savagery,  the  splendid  heroism  of  the  epoch  are 
depicted  in  these  tragic  and  powerful  works.  He 

[34] 


shows  us  hideous  scenes  of  slaughter,  bestial  atroci- 
ties, the  outrage  of  women,  the  butchery  of  children, 
the  despoiling  of  the  dead,  a succession  of  sinister 
pictures  of  famine,  disaster  and  death.  These  works 
clearly  reveal  Goya’s  revolt  against  power  capable  of 
plunging  humanity  in  such  abysms  of  terror.  The 
plates  form  a bitter  and  impassioned  arraignment  of 
militarism. 

Upon  the  restoration  of  the  Spanish  monarchy 
under  Ferdinand  VII,  Goya  for  a time  found  it  expe- 
dient to  go  into  hiding.  It  was  not  long,  however, 
before  the  King  reinstated  him  in  his  old  position  of 
court  painter.  Tradition  states  that  he  pardoned 
Goya  with  the  words : '‘You  have  deserved  exile,  you 
have  merited  the  garrote,  but  you  are  a great  artist 
and  we  will  forget  everything.”  Goya  painted  sev- 
eral portraits  of  Ferdinand  VII,  making  four  mon- 
archs  of  Spain  that  he  had  immortalized  with  his 
brush.  At  about  the  period  of  Ferdinand’s  restora- 
tion, Goya  left  Madrid  and  retired  to  a little  country 
house  outside  the  city,  near  the  Puente  de  Segovia. 
The  rooms  of  that  residence  he  decorated  with  a 
series  of  frescoes  which  have  since  been  transferred 
to  the  Prado.  They  are  for  the  most  part  powerful, 
gloomy  and  1)izarre  productions.  For  his  dining 
room  he  painted  a decoration  showing  Satan  devour- 

[35] 


ing  his  children,  which  is  perhaps  the  most  character- 
istic expression  of  his  genius  for  the  horrible.  Some 
critics  consider  that  these  frescoes  show  that  Goya’s 
reason  had  been  affected  by  the  period  of  terror  and 
distress  through  which  he  had  passed : it  may  at 

least  be  concluded  from  these  works  that  a spirit  of 
deep  melancholy  had  settled  upon  the  artist.  He  had 
certainly  been  greatly  disheartened  by  the  terrible 
vicissitudes  through  which  his  country  had  passed. 
The  early  years  of  the  nineteenth  century  had  been 
marked  by  the  death  of  his  wife  and  of  many  of  his 
most  intimate  friends  ; his  progeny,  although  numerous, 
had  been  for  the  most  part  short  lived ; old  age  was 
creeping  upon  him ; his  health  and  eyesight  were 
affected ; he  had  become  completely  deaf. 

In  these  later  years  of  his  life,  although  he  painted 
occasional  portraits,  he  gave  the  greater  part  of  his 
time  to  etching,  and  produced  a series  of  eighteen 
plates  known  as  Los  Proverbios  {The  Proverbs), 
which  are  really  late  additions  to  the  set  of  Caprichos. 
Their  exact  date  is  uncertain.  Critics  have  placed 
their  time  of  production  from  1805  to  1820,  some  list- 
ing them  as  probably  the  painter’s  last  works,  although 
they  betray  no  waning  power.  Goya  gave  these 
strange  plates  the  title  of  Sueuos  {Dreams).  No  one 
has  appeared  to  have  arrived  at  an  understanding  of 

[36] 


their  meaning'.  Grotesque  monsters,  phantoms,  hying 
men,  deformed  and  malformed  creatures  constitute 
for  the  most  part  the  more  striking  features  of  these 
extraordinary  productions.  Suchos  seems,  indeed, 
the  best  title  and  description  of  them.  In  his  later 
years  he  also  etched  three  impressive  plates  entitled 
Los  Prisioncros  ( The  Prisoners)  and  several  separate 
etchings  such  as  the  Colossus. 

In  1824  he  obtained  leave  of  absence  from  the 
King  in  order  to  go  to  France,  giving  as  his  reason  a 
desire  to  take  the  mineral  waters  at  Plombieres  in 
the  Vosges.  At  seventy-eight  he  started  on  his  long 
journey  and  proceeded  to  Paris,  where  he  made  a 
l)rief  sojourn,  and  then  joined  the  colony  of  Spanish 
exiles  at  Bordeaux.  He  was  constantly  active,  draw- 
ing, painting  and  lithographing,  with  the  aid  of  a 
double-lensed  glass.  The  King  once  prolonged  Goya’s 
leave  of  absence.  To  obtain  a third  leave,  Goya  con- 
sidered it  necessary  to  make  application  to  his  sover- 
eign in  person,  and  in  1826,  at  the  age  of  eighty,  made 
another  l)rief  visit  to  Aladrid,  when  he  sat  to  Vicente 
Lopez  for  the  well-known  portrait  now  in  the  Prado. 
On  his  return  to  Bordeaux,  although  greatly  troulded 
l)y  failing  eyesight,  he  continued  his  work,  llis  last 
portrait  was  that  of  Don  Juan  de  Muguiro.  Goya 
was  evidently  proud  of  such  an  achievement  at  his 

[37] 


age.  He  signed  it  in  full,  “Don  Juan  de  Muguiro 
por  su  amigo  Goya  a los  81  anos  en  Burdeos,  Mayo 
de  1827.”  On  April  15,  1828,  he  was  stricken  with 
apoplexy,  and  the  next  day  death  brought  his  turbu- 
lent career  to  an  end.  For  some  seventy  years  his 
body  lay  in  the  tomb  of  the  Goicoechea  family  at 
Bordeaux,  but  was  finally  transferred  to  Madrid, 
where  it  now  rests  in  the  cemetery  of  San  Isidro. 

Goya’s  fame  rests  almost  entirely  upon  his  por- 
traits, easel  pictures  and  etchings.  His  ecclesiastical 
decorations,  although  marked  by  certain  splendid 
qualities  of  design,  add  nothing  to  his  reputation. 
Nor  may  his  genius  be  fairly  estimated  by  his  charm- 
ing tapestry  cartoons.  Made  for  reproduction,  their 
theme  and  treatment  were  limited  by  the  possibilities 
of  tapestry  weaving  as  it  was  understood  at  the  Santa 
Barbara  manufactory;  and  the  series  is  not  without 
evidence  that  the  artist  felt  the  restraint  which  the 
factory  imposed.  Although  the  genius  of  Goya  is  of 
a nature  to  render  analytical  investigation  difficult, 
there  is  no  doubt  but  that  the  main  characteristic  of 
his  art  is  its  intense  naturalism  or  realism.  A pro- 
found observer  of  life,  who  himself  took  passionate 
delight  in  living,  he  sought  by  every  means  within 
the  range  of  his  supple  technique  to  perpetuate  on 
canvas  the  intense  realities,  the  vital  truths  of  life  as 

[38] 


he  knew  it.  And  in  this  he  was  essentially  Spanish, 
for  Spanish  art  has  been,  more  than  any  other,  an 
art  of  realism.  From  its  inception,  the  Spanish 
school  of  painting  has  had  but  one  ideal,  to  depict 
the  truth.  Its  greatest  epochs  have  been  its  periods 
of  most  intense  realism,  its  weakest  when,  led  by 
foreign  influence,  it  has  forsaken  that  realism  for 
which  the  school  has  genius,  and  has  attempted  to 
replace  it  with  qualities  not  so  clearly  a product  of 
the  national  character. 

It  was  during  one  of  these  weaker  moments 
of  Spanish  art  that  Goya  was  born.  He  appeared 
comet-like,  isolated,  without  a group  or  school 
about  him,  at  a time  when  no  one  in  Spain  and, 
as  Salomon  Reinach  says,  scarcely  anyone  in 
Europe,  knew  how  to  paint.  The  death  of  Coello 
in  1693  marked  the  disappearance  of  that  group  of 
artists  who  had  surrounded  Velazquez  and  found 
their  inspiration  in  the  work  of  the  great  Sevillian 
master.  With  the  extinction  of  the  house  of  Habs- 
burg  and  the  entrance  of  the  Bourl)ons  under  Philip 
a few  years  later,  the  Peninsula  was  flooded  with 
French  and  Italian  painters.  Native  painters  strove 
when  possilfle  to  complete  their  education  at  Rome, 
and  gave  their  talents  to  the  imitation  of  French  and 
Italian  work  in  the  over-elaborate,  artificial  style 

[39] 


characteristic  of  the  epoch.  The  national  art  of  Spain 
seemed  well-nigh  extinct.  It  was  at  the  height  of 
this  chaos  of  foreign  influence  that  the  art  of  the 
Aragonese  painter  emerged  and  by  its  vitality,  its 
freedom  from  academic  restraint,  its  intense  natural- 
ism, gave  Spanish  art  another  great  epoch  of  splendid 
achievement.  The  realism  of  Goya  was  not  a realism 
imitative  of  only  the  exteriors  of  the  people  and  objects 
that  surrounded  him.  Although  too  much  of  a painter 
not  to  make  frequent  use  of  an  accident  of  the  moment, 
not  to  be  interested  in  the  picturesque  appeal  of  a 
bit  of  detail,  his  observation  penetrated  far  below 
such  superficialities.  Lafond  has  well  expressed  this 
idea ; “The  artists  who  have  painted  their  times  are 
known  as  realists  or  naturalists.  Although  they  may 
be  understood  in  the  profound  sense  of  the  words, 
these  appellations  are  generally  given  to  painters  who 
are  more  particularly  struck  by  the  exterior  of  things, 
by  the  momentarily  picturesque.  They  are  not,  how- 
ever, true  realists.  This  appellation  should  be  exclu- 
sively reserved  for  those  masters  who,  moved  by  the 
power  of  life,  are  incapable  of  ignoring  the  invisible 
which  on  all  sides  manifests  itself  to  them;  this  pen- 
etration of  beings  and  things,  unknown  to  their  con- 
temporaries, renders  them  the  demigods  of  their 
epoch  and  of  humanity.  It  is  among  these  painters 

[40] 


only,  and  Goya  is  of  the  nnmljer,  that  is  found  the 
concern  for  simplification,  the  sense  of  the  general, 
the  disdain  of  the  anecdote,  the  sensual  passion  for 
life,  that  combination  of  qualities  which  restrains  the 
decorations  of  costume  and  local  color,  forcing  them 
into  the  role  of  simple  accessories,  making  them  give 
way  before  things  which  are  unchangeable.  By  this 
very  means  they  escape  being  lost  in  the  absurdities 
of  capricious  and  changing  fashions  As  a result  with 
these  masters,  styles  of  dress  seem  always  natural  even 
when  they  have  long  since  been  replaced  by  others 
which  will  change  in  their  turn.”  This  realism,  which 
is  the  keynote  of  Goya’s  work,  is  characteristic  of 
even  the  most  fantastic  of  his  etchings.  His  witches, 
his  goblins,  his  malformed  monsters,  even  his  ghosts, 
exist  and  are  solid,  they  have  light  and  shade,  they 
“go  ’round,”  in  the  language  of  the  studio. 

Goya  himself  is  the  best  authority  as  to  the 
sources  of  his  inspiration  and  training.  “I  have  had 
three  masters,”  he  wrote,  “Nature,  Velazquez  and 
I'iembrandt.”  It  is  difficult  to  estimate  to  what  extent 
he  owed  his  training  in  elements  of  art  to  Luzan. 
Certainly  his  work  shows  no  influence  of  the  style 
of  the  director  of  the  Zaragoza  Academy.  On  the 
other  hand,  Luzan  was  an  enthusiastic  and  thorough 
teacher:  many  of  his  pupils  achieved  considerable 

[41] 


distinction.  It  is  not  impossible  that,  as  some  critics 
suggest,  he  was  to  Goya  what  Otto  Voenius  was  to 
Rubens,  Quentin  Varin  to  Poussin,  Pacheco  to  Velaz- 
quez. However,  it  is  undoubtedly  true  that  talent  as 
rich  and  vigorous  as  Goya’s  would  inevitably  have 
found  adequate  means  of  expression,  with  or  without 
instruction,  in  any  place  where  models  and  material 
were  accessible.  The  painter’s  stay  at  Rome  appears 
to  have  had  almost  as  little  effect  upon  his  style  as 
had  the  two  Italian  trips  of  Velazquez  on  the  work 
of  that  master.  Only  in  his  decorations  does  Goya 
show  any  trace  of  Italian  influence.  In  this  connec- 
tion, the  tradition  that  he  supported  himself  when  in 
Rome  by  the  sale  of  small  pictures  depicting  scenes 
of  Spanish  life  is  worthy  of  mention. 

Throughout  his  work  is  much  that  may  be  rec- 
ognized as  deriving  inspiration  from  Velazquez,  of 
whom  he  may  be  justly  considered  a pupil.  “He 
studied  Velazquez’s  great  understanding  of  the  pic- 
ture,” writes  Yriarte,  “his  independence,  his  proud 
manner,  his  daring  poses,  his  admirable  envelop- 
ment, the  subtle  and  silvery  tones  of  his  flesh, 
his  distinguished  and  delightful  execution.”  Cer- 
tain of  Goya’s  pictures  show  ideas  evidently  directly 
copied  from  his  great  predecessor.  An  interesting 
example  will  be  found  through  comparing  the  man- 

[42] 


ner  in  which  Goya  introduced  his  own  portrait 
into  the  Charles  IV  and  His  Family,  with  the 
portrait  which  Velazquez  painted  of  himself  in  Las 
Meninas.  Although  the  many  etchings  which  Goya 
produced  of  the  masterpieces  of  Velazquez  show  a 
remarkable  appreciation  and  understanding  of  the 
qualities  that  have  rendered  the  Sevillian  master  pre- 
eminent, the  strongly  marked  differences  between  the 
temperament  of  the  two  men  rendered  it  impossible 
for  the  former  to  be  in  any  way  a servile  imitator  of 
the  latter. 

The  work  of  the  two  painters  is,  in  many  fun- 
damental ways,  profoundly  different.  Goya’s  art 
is  almost  wholly  instinctive ; he  worked  with  a sort 
of  savage  and  lusty  joy  in  production,  urged  l)y  an 
irresistible  impulse  to  express  himself.  The  art  of 
Velazquez  was  a product  of  a marvellous  hand,  guided 
by  a singularly  cool,  logical  and  poised  mind.  The 
art  of  Goya  is  emotional  to  an  extreme  : he  liked  or 
disliked,  loved  or  hated,  wept  or  laughed  or  sneered 
in  each  of  his  productions.  Complex  and  paradoxical 
as  was  his  character,  every  line  that  he  drew  gave 
some  clue  to  at  least  one  aspect  of  his  strange  nature. 
The  art  of  Velazquez,  on  the  contrary,  was  almost 
without  emotion.  Goya  would  have  rendered  the 
dwarfs  Vekzquez  painted  either  pitiable,  ridiculous 

[43] 


or  loathsome ; the  Sevillian  master,  absorbed  in  the 
marvel  of  the  impressionism  he  discovered,  was  con- 
tent to  give  a record,  singularly  beautiful  in  its  per- 
fection, of  the  impression  made  on  his  eye  by  the 
grotesque  figure  standing  before  him,  not  only  illu- 
mined itself,  but  in  itself  slightly  luminous  and 
enveloped  in  illuminated  atmosphere.  “If  this  great 
observer,  this  prodigious  craftsman,  felt  a heart 
beating  strongly  in  his  breast,  if  he  knew  sympathies 
and  antipathies,  love  and  hate,  he  has  not  confided 
them  to  us,”  writes  Salomon  Reinach.  “He  is  a 
haughty  and  indifferent  genius,  whose  soul  never 
appears  in  his  pictures.  He  is  content  to  live  and  to 
make  others  live.’' 

Goya  was  one  of  the  most  imaginative  artists 
that  has  ever  lived ; in  his  imagination  and  emo- 
tionalism, he  had  more  kinship  to  Greco  than  to 
Velazquez.  His  pictures  have  something  of  that 
quality  of  strange  restlessness,  of  agitation,  that 
marks  the  work  of  the  master  of  Toledo,  without,  of. 
course,  any  trace  of  their  religious  spirit.  The  poise, 
the  perfect  balance,  the  restraint,  the  perfection  of 
taste  and  workmanship  that  marked  the  pictures  of 
Velazquez  are  missing  in  Goya,  whose  works,  gen- 
erally produced  at  white  heat  in  response  to  the  inspi- 
ration of  the  moment,  are  frequently  marred  by  care- 

[44] 


less  drawing,  passages  of  discordant  tone  and  gross 
offenses  against  good  taste.  It  was  probably  Goya's 
imaginative  and  emotional  qualities  that  caused  him 
to  be  greatly  inhuenced  by  Rembrandt.  His  etchings, 
which  especially  reveal  this  influence,  show  how  clearly 
he  realized  the  value  of  chiaroscuro  in  obtaining  dra- 
matic effect,  in  intensifying  the  emotional  qualities  of 
a picture.  The  very  great  importance  which  Goya 
gave  to  the  use  of  deep  shadow  and  brilliant  light  is 
another  quality  which  distinguished  his  work  from 
that  of  Velazquez,  who  painted  his  figures  for  the 
most  part  in  a full  but  fairly  diffused  light  and  with- 
out deep  shadow.  The  Forge  of  J^ulean  being  a char- 
acteristic example  of  his  method.  Yriarte,  who  ap- 
preciates fully  Goya’s  profoundly  original  genius,  his 
entirely  personal  point  of  view,  his  way  of  under- 
standing and  feeling,  his  mise  en  sehie  without  par- 
allel, his  originality  of  purpose  and  ardent  curiosity, 
considers  him  as  a painter  beneath  the  plane  of  V elaz- 
quez  and  Rembrandt  'Svho  soared  to  artistic  heights 
toward  which  he  aspired  but  never  attained.’' 

Goya  invented  no  new  process  of  work.  He 
could  claim  no  such  epoch-making  achievement  in 
the  art  of  painting  as  that  of  Velazquez,  who  has 
been  so  often  called  the  first  and  greatest  of  all  im- 
pressionists, and  who,  by  his  discovery  of  impression- 

[45] 


ism,  became  the  virtual  founder  of  the  modern  school 
of  painting.  Goya  employed  the  methods  which  had 
come  to  him  through  others;  he  adapted  them  to  his 
own  temperament  and  produced  essentially  personal 
results.  His  manner  of  painting  varied  very  much 
with  his  subject  or  with  the  personality  of  a sitter. 
His  work  was  extremely  uneven  in  quality.  Although 
in  the  Maja  Desnnda  he  attained  great  delicacy  and 
truth  in  the  pearly  gray  shadows  and  flesh  tones  of 
the  figure,  he  never  equalled  the  marvellous  subtlety 
of  Velazquez. 

He  painted  as  a whole  directly,  with  consid- 
erable impasto,  rarely  making  use  of  glazes,  and 
then  principally  in  his  smaller  pictures  or  works  made 
for  very  close  examination.  He  worked  frequently 
on  a red-primed  canvas.  The  studies  of  the  heads  of 
members  of  the  royal  family  from  which  he  painted 
the  Charles  IV  and  His  Family  are  all  on  red  canvas 
that  shows  clearly  in  the  many  small  spots  which  the 
artist  did  not  cover  with  his  hurrying  brush.  His 
palette  was  simple.  It  consisted  for  the  most  part  of 
black,  white,  vermillion,  ochre  and  umber  with  a little 
blue  and  yellow.  With  this  rather  heavy  and  earthy 
group  of  pigments  he  obtained,  however,  effects  of 
surprising  luminosity.  His  tendency  as  he  grew  older 
was  to  eliminate  color  and  to  paint  in  a darker  key, 

[46] 


trusting  to  strong  light  and  shade  for  his  effect.  Some 
of  his  last  portraits  are  painted  in  little  more  than 
red,  black  and  white.  As  a whole,  his  later  works 
were  more  thinly  painted  than  his  earlier  ones.  “It 
is  impossible  to  push  a contempt  for  process  further 
than  did  Goya,”  wrote  Yriarte,  who,  in  treating  of 
Goya’s  method,  also  stated : “It  must  be  recognized 
that  he  did  not  attach  any  importance  to  the  material 
upon  which  he  painted.”  He  lists  as  essentials  for  the 
painter’s  work  only  “the  first  piece  of  cardboard  at 
hand,  a coarse  and  badly  stretched  canvas  fastened 
with  the  aid  of  four  nails  in  the  corners,  very  strong 
paper  prepared  with  turpentine,  badly  ground  colors 
and  a palette  knife.” 

The  directness  of  Goya’s  painting  and  the 
solidity  and  simplicity  of  his  palette  have  resulted, 
however,  in  the  general  excellent  preservation  of 
his  work  today.  “He  kept  his  colors  in  tubs  and 
applied  them  to  the  canvas  by  means  of  sponges, 
brooms,  rags  and  everything  that  happened  to  be 
within  his  reach,”  wrote  Gautier.  “He  put  on  his 
tones  with  a trowel,  as  it  were,  exactly  like  so  much 
mortar,  and  painted  touches  of  sentiment  with  large 
daubs  of  his  thuml).  From  the  fact  of  his  working 
in  this  offhand  and  expeditious  manner,  he  would 
cover  some  thirty  feet  of  wall  in  a couple  of  days. 

[47] 


This  method  certainly  appears  somewhat  to  exceed 
even  the  license  accorded  to  the  most  impetuous  and 
fiery  genius;  the  most  dashing  painters  are  but  chil- 
dren compared  to  him.  He  executed,  with  a spoon 
for  a brush,  a painting  of  the  Dos  de  Mayo,  where 
some  French  troops  are  shooting  a number  of  Span- 
iards. It  is  a work  of  incredible  vigor  and  fire.” 
Painters,  especially,  will  feel  that  Gautier’s  lively 
description  is  what  is  known  today  as  impressionistic 
criticism.  Certainly  a spoon  appears  a tool  of  doubt- 
ful value  in  the  making  of  a picture,  however  robust 
and  impassioned  the  artist  who  wielded  it.  But  the 
French  critic  undoubtedly  gives  an  admirable  general 
sense  of  the  unconventionality,  directness  and  vigor 
that  characterized  Goya’s  method. 

Goya  founded  no  school.  His  art  was  too  per- 
sonal, too  much  the  direct  expression  of  his  own 
strange  temperament.  But  his  influence  has  been 
very  great.  Spain,  on  account  of  its  isolated  posi- 
tion, has  always  been  less  subject  to  foreign  art 
movements  than  other  European  countries.  It  was, 
however,  fast  yielding  before  the  academic  movement 
which  had  swept  France,  Italy  and  Germany,  when 
Goya  appeared  and  with  his  virile  productions  upheld 
the  best  traditions  of  Spanish  art.  He  delayed  and 
weakened  the  invasion  of  the  pseudo-classic  and  other 

[48] 


academic  schools  and  kept  the  love  of  real  painting 
alive  in  the  Peninsula.  Lafond  calls  attention  to  the 
fact  that  among  painters  of  the  past  Goya  is  the  one 
most  understandable  in  our  day.  “i\Iore  and  better 
than  a predecessor,"  he  states,  “the  Aragonese  painter 
is  a contemporary,  almost  a man  of  tomorrow.  His 
fashion  of  rendering,  of  interpreting  nature  is  abso- 
lutely modern.  He  depicts  it  as  he  sees  it,  with  the 
comprehension  of  an  artist  of  our  daring  and  inde- 
pendent epoch.  He  is  more  than  one  hundred  years 
ahead  of  his  century."  It  is  these  qualities  in  Goya's 
work  which  have  insured  his  great  influence  on  mod- 
ern painting.  iManet,  Courbet,  Regnault — all  felt  his 
spell,  while  the  most  cursory  examination  of  current 
exhibitions  will  show  how  great  and  how  worthy  is 
the  company  of  painters  who  have  proflted  by  a study 
of  his  example. 

Only  fifteen  years  after  the  death  of  Goya. 
Gautier  wrote : “In  Goya's  tomb  is  buried  ancient 
Spanish  art  — all  the  world,  which  has  now  forever 
disappeared,  of  torrcros,  majos,  manolos,  alguacils, 
monks,  smugglers,  rol)bers  and  sorceresses ; in  a 
word,  all  the  local  color  of  the  Peninsula.  He  came 
just  in  time  to  collect  and  perpetuate  these  various 
classes.  He  thought  that  he  was  merely  producing 
so  many  caprices,  when  he  was  in  truth  drawing  the 

[49] 


4 


portrait  and  writing  the  history  of  the  Spain  of  for- 
mer days,  under  the  belief  that  he  was  serving  the 
ideas  and  creeds  of  modern  times.”  Since  Gautier 
penned  these  lines  more  than  half  a century  has 
widened  the  gap  that  lies  between  the  world  of  Goya 
and  our  world  today.  But  the  world  of  Goya  and 
Goya  himself  still  live,  immortalized  through  his 
genius  in  the  precious  legacy  of  work  which  he 
bequeathed  to  mankind. 


[50] 


A PORTRAIT  OF  DONA  MARIA  DEL  PILAR 
TERESA  CAYETANA  DE  SILVA  ALVAREZ 
DE  TOLEDO,  THIRTEENTH  DUCHESS  OF 


ALBA 


Dona  Maria  del  Pilar  Teresa  Cayetana  ue  Silva  Alvarez  de 
Toledo,  Thirteenth  Duchess  of  Alba 
P>y  Francisco  Goya  y Lncientes 


A PORTRAIT  OF  DONA  MARIA  DEL  PILAR 
TERESA  CAYETANA  DE  SILVA  ALVAREZ 
DE  TOLEDO,  THIRTEENTH  DUCHESS 
OF  ALBA,  BY  FRANCISCO  GOYA  Y LUCI- 
ENTES 


In  books  dealing  with  the  life  and  work  of  Goya,  this 
portrait  has  frequently  been  referred  to  as  The  Duchess  of 
Alba  in  a Black  Mantilla. 

The  celebrated  Duchess  of  Alba  was  the  daugh- 
ter of  Don  Francisco  de  Paula  Alvarez  de  Toledo, 
Duke  of  Huescar,  and  of  Doha  Mariana  de  Silva  y 
Sarmiento.  She  was  born  at  Madrid,  June  10,  1762. 
The  Duke  of  Huescar  was  the  son  and  heir  of  Don 
Fernando  de  Silva,  twelfth  Duke  of  Alba,  but  did  not 
inherit  the  title,  as  he  died  before  his  father.  When 
l)etween  twelve  and  thirteen  years  of  age,  Doha  Maria 
Teresa  was  married  to  Don  Jose  Alvarez  de  Toledo 
Osorio  Perez  de  Guzman  el  Bueno,  eleventh  Marquis 
of  Villafranca.  The  l^ridegroom,  who  was  born 
July  16,  1756,  was  still  under  nineteen  at  the  time  of 
the  ceremony. 

Through  the  death  of  her  grandfather  in  1776, 
Doha  Alaria  Teresa,  when  fourteen  years  of  age, 

[53] 


became  in  her  own  right  Duchess  of  Alba,  inheriting 
at  the  same  time  the  vast  estates  and  revenues  of 
the  family.  She  was  one  of  the  most  brilliant  figures 
of  the  Spanish  court  of  her  day.  Her  beauty,  wealth 
and  position  gave  her  great  influence  and  power. 
Goya’s  biographers  have  varied  widely  in  their  treat- 
ment of  her  and  in  their  interpretation  of  her  rela- 
tions with  the  artist.  Some,  emphasizing  the  roman- 
tic note  in  their  account  of  the  friendship,  have 
produced  the  effects  of  a historical  novel ; a few, 
giving  credence  to  unauthenticated  and  unconven- 
tional stories,  have  written  what  is  closely  akin  to  a 
chronique  scandaleuse.  Others  have  ignored  her  story 
as  far  as  possible ; they  treat  of  her  in  footnotes  and 
attempt  to  minimize  any  importance  she  may  have 
had  in  the  life  of  the  painter.  The  Duchess,  like 
Goya,  was  peculiarly  a person  of  her  own  epoch.  In 
any  period  of  the  Spanish  court  other  than  the  reign 
of  Charles  IV  she  would  have  been  an  almost  incred- 
ible figure.  She  can  only  be  accepted  as  a product 
of  her  time  and  environment ; as  such  she  needs  no 
excuses.  Despite  her  eccentricities,  she  remains  an 
appealing  and  pathetic  historical  figure.  An  admi- 
rable idea  of  the  atmosphere  in  which  Dona  Maria 
Teresa  grew  up  is  given  in  a passage  from  Travels 
Through  Spain  and  Portugal  in  i//4,  by  Major  Dal- 

[54] 


rymple,  aptly  quoted  by  Stokes : “All  these  great  fam- 
ilies have  pages,  who  are  gentlemen,  for  whom  they 
provide  sometimes  in  the  army,  etc.  The  custom  of 
keeping  buffoons  prevails  still  in  this  part  of  the  world. 
I often  saw  the  Duke  of  Alba’s  covered  with  ribbons 
of  various  orders,  a satire  on  such  baubles!  He 
attends  his  master  in  the  morning,  and  the  instant 
he  awakes  is  obliged  to  relate  some  facetious  story 
to  put  his  Grace  in  good  humour.  The  Duke  requires 
so  much  wit  from  him  that  he  is  eternally  upon  the 
scamper  in  search  of  it.  It  is  hardly  possible  to 
divine  how  these  people  can  spend  such  amazing  for- 
tunes as  some  of  them  possess.  But  residing  at  the 
Court,  never  visiting  their  estates,  and,  in  general, 
thinking  it  beneath  them  to  examine  or  even  inquire 
into  their  affairs,  their  stewards  enrich  themselves  to 
their  ruin.  . . . When  once  a servant  is  admitted 
into  a family,  it  is  certain  maintenance  for  him  dur- 
ing life,  if  he  commit  not  some  glaring  crime,  and 
even  his  descendants  are  taken  care  of.  Women  are 
another  considerable  expense.” 

The  Duchess  of  Alba  and  the  Duchess  of  Osuna 
were  great  rivals  of  each  other  and  of  the  queen, 
iMaria  Louisa.  Lady  Holland,  in  The  Spanish  Jour- 
nal, in  which  she  recorded  her  experiences  in  Spain 
in  1802-5,  writes:  “The  Duchess  was  always  an  object 

[55] 


of  jealousy  and  envy  to  the  great  Lady  ; her  beauty, 
popularity,  grace,  wealth,  and  rank  were  corroding 
to  her  heart.”  And  again:  “She  [the  Duchess]  was 
very  beautiful,  popular,  and  by  attracting  the  best 
society  was  an  object  of  jealousy  to  one  who  is  all- 
powerful.”  Lady  Holland  had  no  high  opinion  of 
the  morals  of  the  Duchess:  “The  matadores  are  the 
toreros  admired  by  the  ladies,”  she  gossips;  “the 
Duchesses  of  Osuna  and  Alba  formerly  were  the  rivals 
for  Pedro  Romero.”  She  refers  to  the  “Duchess  of 
Osuna,  formerly  the  great  rival  of  the  celebrated 
Duchess  of  Alba  in  profligacy  and  profusion,”  but  at 
least  stated  that,  “however  they  may  have  indulged 
themselves,  they  never  wantonly  violated  decency  in 
their  conversation  or  deportment.” 

Her  story  of  the  burning  of  the  Alba  palace 
is  particularly  interesting  as  an  indication  of  the 
extent  to  which  its  owner  suffered  through  perse- 
cution from  spiteful  and  powerful  enemies.  This 
palace,  known  as  the  Palacio  de  Buenavista,  still 
exists  in  the  Calle  de  Alcala  at  Madrid,  and  is 
now  used  by  the  government  as  a War  Office.  The 
land  was  bought  in  1769  by  the  Duke  of  Alba  for 
over  four  million  reals.  “The  Alba  palace,”  states 
Lady  Plolland,  “situated  by  the  Prado  in  the  most 
commanding  situation,  was  l)uilt  by  the  late  Duchess's 

[56] 


grandfather.  The  plan  was  magnificent:  she  almost 
finished  its  execntion  when  a fire  broke  out  and  de- 
stroyed mnch  of  the  work.  However,  not  discour- 
aged by  the  accident,  she  pursued  the  plan,  and  the 
palace  was  nearly  ready  for  her  reception  when  an- 
other fire,  more  violent  and  destructive  than  the  for- 
mer, destroyed  the  labour  of  years.  Every  search 
was  made  among  the  workmen  to  ascertain  how  the 
disaster  was  occasioned,  but  the  vigilance  of  enquiry 
was  eluded  and  enough  was  discovered  to  convince 
that  a further  attempt  to  finish  the  noble  edifice  would 
end  in  a similar  disappointment,  the  train  being  laid 
by  a high  and  jealous  power.” 

The  following  amusing  anecdote  is  considered 
by  Von  Loga  as  worthy  of  quotation:  '‘The  Duchess 
D * * young,  beautiful,  witty  and  an  im- 

mensely rich  widow,  had  the  misfortune  as  a result 
of  certain  court  intrigues  to  lose  the  favor  of  the 
Queen.  The  sense  of  injury  which  the  Duchess  felt 
confined  itself  for  a long  time  to  a noble  defense,  but 
finally  the  gaiety  of  her  character  often  led  her  to 
pleasantries  which  were  not  without  danger  for  her. 
Knowing  the  Queen’s  custom  of  having  brought  from 
Paris  almost  all  her  finery,  she  employed  a faithful 
and  adroit  agent  to  procure  at  any  price  the  same 
styles,  the  same  materials,  the  same  jewels  that  the 

[57] 


furnishers  of  the  Queen  had  orders  to  forward  to 
Madrid.  He  sent  on  his  cases  several  days  before 
the  Queen’s  employees  were  ready  to  make  their  ship- 
ments. The  Duchess  then  had  nothing  more  to  do 
than  to  dress  her  maids  and  give  them  orders  to 
show  themselves  in  all  public  places,  at  the  Prado, 
at  the  theatre,  etc.  The  war  was  just  so  much  the 
more  animated  as  the  Duchess,  young,  pretty  and 
perfectly  agreeable,  obtained  in  this  field  all  the  ad- 
vantages and  all  the  success  she  wished.  Twice  an 
unknown  hand  burnt  her  palace.  She  had  the  dam- 
ages caused  by  the  fire  restored;  and  for  the  third 
time,  when  her  palace  was  entirely  reconstructed  and 
furnished,  gave  a grand  fHe,  which  was  brought  to 
a close  earlier  than  usual.  'Withdraw,’  she  said  to 
her  guests,  T do  not  at  all  wish  to  leave  to  others 
the  pleasure  of  burning  my  palace.  I will  take  charge 
myself  of  that  task.’  And  in  fact,  she  had  it  set  on 
fire.” 

The  friendship  of  Goya  with  the  Duchess  of 
Alba  was  an  intimate  one.  He  produced  at  least 
seven  portraits  of  her,  certain  of  which,  like  the  pres- 
ent painting,  have  been  considered  by  many  indicative 
of  the  closeness  of  their  relations.  In  one  famous 
portrait  in  the  collection  of  the  Marquis  de  la  Romana 
at  Madrid,  he  depicted  himself  beside  his  patrician 

[58] 


friend.  Reminiscences  of  her  striking  and  piquant 
type  are  found  in  many  of  the  artist's  works.  Von 
Loga,  who  does  not  give  great  importance  to  the 
romantic  stories  associating  her  name  with  that  of 
the  painter,  calls  attention  to  the  fact  that  Goya,  at 
the  period  of  their  friendship,  was  nearly  fifty  years 
old  and  partially  deaf.  It  is  established,  however, 
that  early  in  1793,  when  the  Duchess  was  banished 
from  the  court,  Goya  accompanied  her  into  exile. 
According  to  Lady  Holland,  the  only  favor  allowed 
the  disgraced  noblewoman  was  the  choice  from  among 
her  estates  of  a place  of  banishment.  She  chose 
Sanlucar  de  Barrameda  in  Andalusia.  Lefort,  who 
brought  to  light  the  royal  order  dated  January,  1793, 
which  gave  Goya  a leave  of  absence  on  account  of 
his  health,  recounts  the  incident:  “A  frequenter  of 
the  salons  of  the  Duchesses  of  Alba  and  of  Benavente, 
who  disputed  with  Maria  Louisa  the  scepter  of  fashion 
and  pleasure,  Goya  interested  himself  in  their  rivalries 
and  took  part  in  their  quarrels.  He  took  sides  first 
with  one,  then  with  the  other,  and  finally  became  the 
avowed  champion  of  the  beautiful  Duchess  of  Alba, 
then  in  open’  rivalry  with  the  Queen  herself.  The 
artist,  whose  biting  verve  no  longer  spared  anyone, 
overwhelmed  with  his  sarcasms  the  enemies  of  his 
dear  Duchess  until  the  day  when,  upon  order  of  the 

[59] 


offended  Maria  Louisa,  she,  an  exile  from  the  Court, 
and  he,  on  a two  months’  leave  of  absence  for  health, 
were  obliged  to  take  the  road  for  Andalusia  and 
Sanlucar  de  Barrameda,  where  the  Duchess  possessed 
a palace.” 

The  exact  duration  of  Goya’s  visit  to  Andalu- 
sia is  not  known.  Matheron  gives  it  as  two  years, 
but  other  biographers  consider  that  his  stay  was  of 
much  less  duration.  At  any  rate,  the  Duchess  was 
pardoned  and  allowed  to  re-enter  Madrid  shortly 
after  the  re-establishment  of  the  painter  in  the  capital. 
The  greater  number  of  the  portraits  which  Goya 
painted  of  her  date  from  about  this  period  of  exile 
or  the  years  immediately  following.  The  resemblance 
of  the  heads  of  the  Maja  Dcsmida  and  the  Maja  Ves- 
tida  to  the  Duchess  has  undoubtedly  been  the  principal 
cause  of  the  legend  that  she  posed  for  these  figures. 
It  is  unsupported  by  any  evidence.  It  is  not  impos- 
sible that  Goya’s  model  presented  that  combination 
so  unhappily  familiar  to  artists  of  a beautiful  body 
with  a commonplace  head ; to  have  remedied  this 
lack  of  facial  charm,  Goya  may  have  introduced  into 
the  features  either  consciously  or  unconsciously  some 
traces  of  the  type  of  the  Duchess,  whom  he  had 
painted  so  often  and  whose  features  he  knew  so 
well.  At  any  rate,  it  may  l)e  safely  assumed  that 

[60] 


she  did  not  pose  for  the  pictures.  Stokes,  who 
writes  quite  fully  of  the  possible  identity  of  the 
model  of  these  paintings,  wisely  concludes : '‘The 
identity  of  the  Majas  must  therefore  remain  a secret 
which  future  biographers  are  not  likely  to  unravel." 
He  tells  of  Baudelaire’s  great  interest  in  these  pic- 
tures. The  poet,  who  accepted  the  popular  story, 
saw  at  Paris  in  1859  what  must  have  l)een  two 
copies  of  the  Maja  Dcsniida  and  the  Maja  J\^stida. 
On  May  14,  1859,  he  wrote  an  amusing  letter  to  a 
friend:  “.  . .if  3^011  are  an  angel  go  and  flatter  a 
person  named  Moreau,  picture  dealer,  Rue  Lafltte, 
Hotel  Lafltte  (I  intend  to  court  him  on  account  of 
a study  I am  preparing  upon  Spanish  painting), 
and  try  to  obtain  from  this  man  permission 
to  take  a photograph  of  the  Duchess  of  Alba 
(absolutely  Goya  and  absolutely  authentic).  The 
replicas  (life  size)  are  in  Spain,  where  Gautier  has 
seen  them.  In  one  frame  she  is  represented  in  na- 
tional costume,  in  the  other  she  is  nude  in  the  same 
position  on  her  back.  The  triviality  of  the  pose  adds 
to  the  charm  of  the  pictures.  If  I ever  used  your 
slang,  I might  say  that  the  Duchess  is  a bizarre  woman 
with  a wicked  look.’’ 

Certain  of  Goya’s  etchings  are  generally  ac- 
cepted as  an  indication  that  the  painter  and  the 

[611 


Duchess  finally  became  estranged.  Plate  61  of  the 
Caprichos  represents  an  elegant  young  woman, 
her  head  adorned  with  butterfly  wings.  She  flies 
through  the  air  carried  by  a group  of  sorcerers. 
Goya  left  certain  manuscripts  commenting  on  his 
etchings,  the  comments  being  generally  enigmatic. 
Of  this  etching  he  wrote:  “The  group  of  sorcerers 
who  serve  as  a support  for  our  elegant  lady  are  more 
for  ornament  than  real  use.  Some  heads  are  so 
charged  with  inflammable  gas  that  they  have  no 
need  for  balloons  or  sorcerers  in  order  to  fly  away.” 
In  another  manuscript  attributed  to  Goya  it  is  defi- 
nitely stated  that  the  etching  refers  to  the  Duchess. 
On  a drawing  for  one  of  the  unpublished  etchings 
of  the  Caprichos,  which  is  also  considered  to  refer 
to  her,  is  written  in  Goya’s  hand : “A  dream  of  false- 
hood and  inconstancy.”  Although  the  friendship  of 
the  painter  and  the  Duchess  thus  came  to  an  end,  it 
was  of  some  years’  duration  and  was  undoubtedly  of 
much  more  importance  in  their  lives  than  a passing 
caprice.  It  has  resulted  in  their  names  being  for- 
ever inseparably  linked ; whatever  opinion  a biog- 
rapher may  hold  of  their  relation,  it  is  impossible  to 
write  any  fairly  complete  life  of  one  without  mention 
of  the  other. 


[62] 


The  Duchess  did  not  long  survive  her  return  to 
Madrid.  She  died  on  July  25,  1802,  some  six  years 
after  the  death  of  her  husband.  “She  died  last  summer,” 
writes  Lady  Holland,  “supposed  to  have  been  poisoned  ; 
her  physician  and  some  confidential  attendants  are 
imprisoned  and  her  estates  sequestered  during  their 
trial,  but  by  whom  and  for  what  reason  the  dose  was 
administered,  remains  as  yet  unknown.”  Sir  Wil- 
liam Stirling-Maxwell  also  states  that  the  physician 
was  suspected  of  poisoning  his  patron,  but  declares 
that  the  doctor  does  not  seem  to  have  been  guilty 
and  that  he  got  off  through  the  interest  of  Godoy. 
The  Duchess  was  buried  in  the  cemetery  of  San  Isidro 
at  Madrid.  She  died  without  issue  and  with  her 
death  one  of  the  main  lines  of  the  Alvarez  de  Toledo 
family  came  to  an  end.  The  title  and  estates  passed 
to  Don  Carlos  Miguel  Fitzjames  Stuart  y Silva,  sev- 
enth duke  of  Berwick  and  Liria,  the  title  now  used 
by  the  family  being  Berwick  and  Alba. 

The  death  of  the  unfortunate  Duchess  was  fol- 
lowed by  a period  of  confusion  resulting  from  diffi- 
culties as  to  the  settlement  of  her  estate.  “Most  of  the 
effects  of  the  late  Duchess  of  Alba,”  writes  Lady  Hol- 
land, “were  seized  l)y  the  Queen,  Prince,  and  even 
King,  on  the  day  after  her  death,  engaging  to  pay  for 
them  the  price  at  which  they  should  be  valued.  One  of 

[63] 


her  estates,  bought  by  ye  Prince  of  the  Peace  [Godoy], 
taken  possession  of,  but  not  paid  for  on  account  of  the 
law-suits  about  her  will  ; sold  to  the  King  afterward, 
and  the  purchase  money  received,  without  having  to 
this  day  satisfied  the  original  proprietors.”  One  of 
the  greatest  objects  of  contention  was  the  valuable 
collection  of  pictures  which  had  descended  in  the 
family  through  many  generations.  It  had  been 
notably  enriched  by  the  addition  of  the  bulk  of  the 
magnificent  collection  of  the  celebrated  Count-Duke 
of  Olivares.  The  Alba  pictures  were  several  hun- 
dred in  number  at  the  time  of  the  Duchess’s  death, 
and  included  such  masterpieces  as  the  famous  Venus 
and  Cupid,  by  Velazquez,  now  in  the  National  Gal- 
lery in  London;  The  Edueation  of  Loz'e,  by  Cor- 
reggio; and  the  Madonna  of  the  House  of  Alba,  by 
Raphael,  now  in  the  Hermitage  at  Petrograd.  Pas- 
savant,  in  his  work  on  Raphael,  relates  a tradition 
regarding  this  picture.  According  to  his  account,  the 
Duchess,  after  having  been  cured  of  grave  illness, 
presented  the  Raphael  and  a copy  of  it  to  her  physi- 
cian. It  was  this  same  physician  who  was  afterward 
imprisoned  under  suspicion  of  having  poisoned  his 
patron.  Released  through  the  influence  of  Godoy,  he 
presented  the  copy  of  the  work  to  the  Prince  of  Peace 
and  sold  the  original  to  Count  Burcke,  through  whom 

[64] 


it  finally  passed  to  Russia.  It  appears  true,  however, 
that  the  original  picture  was  sold  to  Godoy  by  order 
of  the  King  during  the  lawsuits  which  complicated 
the  settlement  of  the  estate,  and  at  the  sale  of  Godoy ’s 
effects  it  passed  out  of  Spain.  The  lawsuits  regarding 
the  pictures  were  between  the  Duke  of  Berwick  and 
x\lba  and  other  heirs  and  were  terminated  by  an  agree- 
ment by  which  the  heirs  consented  to  give  thirty-two 
of  the  best  pictures  of  the  collection  to  the  Duke. 
The  Catdlogo  de  la  Coleccion  de  Pinfuras  del  Excmo. 
Sr.  Diique  de  Berwiek  y de  Alba,  prepared  by  Don 
x\ngel  M.  de  Barcia  at  the  request  of  the  mother  of 
the  present  Duke,  Dona  Maria  del  Rosario  Falco  y 
Osorio,  ninth  Duchess  of  Berwick  and  sixteenth  of 
Alba,  states  that  this  obligation  does  not  appear  to 
have  been  very  faithfully  fulfilled,  for  only  a half 
dozen  of  the  best  pictures  of  the  collection  passed  to 
the  possession  of  the  Duke ; others  were  family  por- 
traits and  pictures  in  themselves  good,  but  of  second 
order.  The  greater  part  of  the  magnificent  collection 
was  forever  dispersed. 

The  portrait  of  the  Duchess  of  Alba  in  the  col- 
lection of  The  Hispanic  Society  of  America  is  dated 
1797  and  appears,  therefore,  to  have  been  painted 
consideral)ly  after  the  artist’s  return  from  Sanlucar. 
The  Duchess  was  then  thirty-five  years  of  age,  the 

[65] 


painter  fifty-one.  It  is  the  largest  portrait  which  the 
artist  painted  of  his  distinguished  patron.  Only  two 
other  full-length,  life-size  portraits  of  her  by  Goya 
are  known.  One  is  the  property  of  the  present  Duke 
of  Berwick  and  Alba,  and  hangs  in  the  Liria  palace 
at  Madrid.  A replica  of  it,  formerly  in  the  Medici 
collection  at  Naples,  is  now  owned  in  England.  The 
portrait  in  the  Liria  palace  shows  the  Duchess  dressed 
in  white  and  wearing  a red  sash.  She  points  with 
one  hand  toward  an  inscription  painted  upon  the 
canvas  at  the  left  of  the  picture  near  her  feet.  The 
catalogue  of  the  paintings  of  the  Duke  of  Berwick 
and  Alba  gives  the  following  note : “Above  the  dog, 
a large  inscription,  carefully  executed  with  such  sin- 
gular mastery  that  it  is  not  noticeable  even  on  close 
inspection,  states:  ‘A  la  Duquesa  de  Alba,  Francisco 
de  Goya,  1795.’  The  inscription  proves  that  this  por- 
trait, not  greatly  impressive,  but  admirable  for  its 
character  and  subtlety  of  tone,  was  a gift  made  to 
the  Duchess  by  the  painter  and  at  the  same  time 
reveals  the  intention  of  the  artist,  who  desired  that 
the  lady  should  be  indicating  the  dedication.  It  is 
known  that  this  Duchess  was  a great  friend  of  Goya, 
whom  she  treated  with  a certain  intimacy,  regarding 
which  certain  writers,  particularly  foreigners,  have 
invented  more  or  less  extravagant  anecdotes.  Goya 

[66] 


made  several  portraits  of  her.  This  picture,  and  that 
which  was  at  Paris,  also  full-length,  with  a black 
dress  and  mantilla,  are  the  principal  ones.  A letter 
of  Goya  to  his  friend  Zapater,  written  at  Madrid  and 
dated  as  a joke  at  London,  owned  today  by  the  Mar- 
quis de  Casa-Torres  and  already  published,  although 
not  very  faithfully,  states : 

“ ‘Londres  2 de  Agosto  de  1800.  . . . Maste 
l)alia  benirme  a ayudar  a pintar  a la  de  Alba,  que 
ayer  seme  metio  en  el  estudio  a que  la  pintase  la 
cara,  y se  salio  con  ello;  por  cierto  que  me  gusta 
mas  que  pintar  en  lienzo,  que  tambien  la  he  de  retratar 
de  cuerpo  entero  y bendra  apenas  acabe  yo  un  borron 
del  Duque  de  la  Alcudia  a caballo.  . . . ’ 

The  portrait  mentioned  in  this  letter  is  without  doubt 
that  in  which  the  Duchess  is  shown  full-length,  dressed 
as  a maja;  a portrait  that,  after  belonging  to  the 
Goyena  collection,  was  owned  at  Paris  by  the  dealer 
Kramer  and  was  recently  acquired  for  The  Plispanic 
Society  of  America.”  Von  Loga  also  notes  the  pos- 
sibility that  this  portrait  in  black  is  that  to  which 
reference  is  made  in  Goya’s  letter.  The  picture  is 
frequently  mentioned  in  books  dealing  with  the  life 
and  art  of  Goya.  Lafond,  who  saw  it  at  Paris, 
spoke  of  it  as  a portrait  of  “a  superb  air.”  Stokes 

[67] 


writes  of  the  portrait : ‘'A  whole-length  in  black  silk 
and  mantilla  is  artistically  the  most  attractive  of  the 
series  and  is  clearly  the  result  of  several  studies.” 
The  picture  was  once  the  property  of  King  Louis 
Philippe  and  for  a time  hung  in  the  Louvre,  when  a 
collection  of  paintings  owned  by  the  French  mon- 
arch was  shown  there.  This  collection  became  cele- 
brated under  the  name  of  the  Galerie  Espagnole.  It 
was  formed  for  Louis  Philippe  by  M.  le  Baron 
Taylor  and  the  painter  A.  Dauzat,  who  when  a youth 
at  Bordeaux  had  known  Goya.  These  two  agents 
proceeded  to  Spain  to  collect  pictures  after  succes- 
sive revolutions  had  resulted,  in  1836,  in  the  sup- 
pression of  various  religious  orders  and  the  conse- 
quent dispersal  of  the  effects  of  these  ecclesiastical 
bodies.  The  mission  of  the  collectors  was  highly 
successful,  for  they  assembled  one  of  the  finest 
groups  of  Spanish  pictures  ever  brought  together. 
In  1838  the  collection  of  four  hundred  and  forty-two 
pictures,  including  eight  by  Goya,  was  placed  in  the 
Louvre,  where  it  remained  until  after  the  death  of 
Louis  Philippe  in  exile.  It  was  finally  obtained  by 
the  heirs  of  the  king  and  sold  in  1853  at  auction  at 
London  1)y  Christie  and  Manson,  the  sale  bringing 
the  ridiculous  sum  of  £4497.  This  portrait  of  the 
Duchess  of  Allia  was  No.  103  of  the  Galerie  Espag- 

[68] 


nole  and  No.  444  of  the  catalogue  of  the  London 
sale.  Sir  William  Stirling-Maxwell,  in  his  Annals 
of  the  Artists  of  Spain,  published  in  1848,  wrote  of 
it : ‘‘The  Louvre  has  a good  full-length  portrait  of 
the  famous  Duchess  of  A11)a,  attired  in  a l)lack  lace 
national  dress  of  Andalusia,  from  whence  we  learn 
that  the  rouge  of  Castilian  high  life  long  survived 
the  ridicule  of  Madame  d'Aulnoy.”  After  the  sale 
of  the  collection  of  King  Louis  Philippe  the  pic- 
ture passed  to  M.  P.  Sohege,  of  Paris.  It  figured 
for  a time  in  the  Irureta  Goyena  collection  in  Seville. 
It  was  olLained  for  The  Hispanic  Society  through 
Gimpel  and  Wildenstein,  of  Paris.  The  portrait  is 
undoul)tedly  an  excellent  likeness,  the  essential  char- 
acteristics of  the  face  being  the  same  as  in  all  other 
portraits  which  Goya  painted  of  the  Duchess. 

The  sulyject  is  represented  as  standing  and  turned 
slightly  toward  the  right.  Her  left  hand  rests  on 
her  hip ; with  her  right  hand  she  points  to  the  ground, 
where  the  name  Goya  is  written.  She  wears  an  elal)- 
orate  Idack  skirt  and  an  orange  waist,  which  is  draped, 
as  is  her  head,  in  a l)lack  mantilla.  .\l)oul  her  waist 
is  a red  sash  ornamented  with  gold  fringe.  Gold- 
embroidered  white  slippers  with  white  stockings  and 
a hair  ornament  in  yellow  and  white  complete  her 
costume.  On  the  index  and  middle  finger  of  her  left 

[69] 


hand  are  two  large  rings,  on  which  are  inscribed  re- 
spectively Alha  and  Goya.  A conventional  landscape 
showing  a river  with  a fringe  of  trees  and  a dark 
gray  sky  complete  the  composition.  Signed  below : 
Goya  179/.  On  canvas — 2.10x1.47. 


[70] 


DON  ALBERTO  FORASTER 


Don  Alberto  Foraster. 

By  Francisco  Goya  y Lucientes. 


A PORTRAIT  OF  DON  ALBERTO  FORASTER, 
BY  FRANCISCO  GOYA  Y LUCIENTES 


This  is  the  larger  of  two  portraits  which  Goya 
painted  of  Don  Alberto  Foraster.  The  other  exists 
at  Madrid  in  the  collection  of  Don  Javier  Millan. 
It  is  a head  and  bust  portrait  measuring  0.49  x 0.37. 
The  head  is  shown  in  the  same  position  as  in  the 
painting  belonging  to  The  Hispanic  Society  of 
America,  and  the  uniform  in  l)oth  pictures  is  iden- 
tical. The  Madrid  portrait  has  been  photographed 
by  Moreno  and  reproduced  in  several  books  on  Goya. 
It  is  mentioned  in  various  catalogues  of  Goya’s  work 
under  the  title  Don  Antonio  Foraster. 

A life-size,  three-quarter-length  portrait.  The 
subject  is  represented  as  standing  and  turned  slightly 
to  the  left.  His  right  hand  holds  his  black  military 
hat,  his  left  his  sword.  The  coat  is  of  black  with 
large  revers  and  cuffs  of  red  ornamented  with  gold 
braid.  The  trousers  and  gloves  are  of  dull  yellow, 
the  background  of  a deep  olive  brown.  Obtained 
through  M.  Sedelmeyer,  of  Paris.  Signed  below  and 
to  the  right:  Alberto  Foraster  por  Goya  1804.  On 
canvas — 132  x 104. 


[73] 


A SKETCH  FOR  ESCENAS  DEL  3 DE  MAYO 
DE  1808 


Sketch  for  Escenas  del  s de  Mayo  de  1808 
By  Francisco  Goya  y Lucientes 


A SKETCH  FOR  ESCENAS  DEL  3 DE  MAYO 

DE  1808  (SCENES  OF  MAY  3,1808),  BY 

FRANCISCO  GOYA  Y LUCIENTES 

This  is  a sketch  for  one  of  the  most  celebrated 
of  the  painter’s  pictures,  Escenas  del  dc  Mayo  dc 
i8o8,  included  with  its  companion  piece,  Episodio  dc 
la  Invasion  Erancesa  en  i8o8  (Episode  of  the  Ercneh 
Invasion  of  i8o8)  in  the  collection  of  the  Mnseo  del 
Prado  at  Madrid.  These  two  pictures  are  Goya’s 
greatest  achievement  as  a historical  painter,  and  rank 
among  the  most  notal^le  works  of  their  order  ever 
produced.  They  present  a vivid  pictorial  record  of 
the  hideous  scenes  which  the  artist  witnessed  at  the 
time  of  the  French  invasion  of  Spain  during  the 
Peninsula  War.  In  the  Escenas  del  ? de  Mayo  de 
i8o8,  a group  of  Madrid  citizens,  huddled  together 
in  horror  at  their  fate,  are  about  to  be  executed  by 
troops  of  i\Inrat,  who,  standing  in  file  with  muskets 
at  their  shoulders,  are  ready  to  fire.  Many  of  the 
condemned  are  upon  their  knees,  some  cover  their 
faces  with  their  hands  to  shut  out  the  sight  of  the 
levelled  guns;  a man  in  the  center  of  the  group  raises 
his  arms  as  if  in  an  aljandonment  of  terror.  The 


grisly  scene,  which  takes  place  before  dawn,  is  but 
feebly  illuminated  by  a large  lantern.  The  Episodic 
de  la  Invasion  Francesa  en  1808  shows  a fierce  fight 
in  the  main  plaza  of  Madrid,  the  Puerta  del  Sol, 
between  the  Mamelukes  of  the  French  Imperial  Guard 
and  Madrid  citizens.  The  canvas  is  a tangle  of  fight- 
ing men  and  plunging  horses.  The  extraordinary 
power  and  spirit  of  the  two  pictures,  the  truth  of 
movement  of  the  figures,  the  mastery  with  which 
Goya  conveys  to  the  spectator  his  vivid  impression 
of  tenseness  and  horror  has  been  rarely  approached 
and  never  surpassed.  Both  canvases  are  large,  meas- 
uring 2.66  by  3.45  metres.  They  were  produced  in 
1808  or  1809,  and  this  sketch  may  be  assigned  to  the 
same  period.  The  Prado  catalogue  gives  the  follow- 
ing note  on  the  Escenas  del  j de  Mayo  de  1808:  “The 
invaders,  not  content  with  the  blood  spilled  during 
the  night  (of  the  second  of  May),  still  continued  the 
following  morning,  shooting  some  of  those  arrested 
the  evening  before,  for  whose  execution  they  chose 
the  grounds  of  the  house  of  Prince  Pio.”  Hisforia 
del  Levantamiento,  Guerra  y Revolucion  de  Espaiia, 
by  the  Count  de  Toreno.  A sketch  for  the  Episodio 
de  la  Inz>asion  Francesa  en  1808,  corresponding  to 
this  sketch  for  the  Escenas  del  y de  Mayo  de  1808 
is  owned  at  Madrid  by  the  Duchess  of  Villahermosa. 

[78] 


A comparison  between  the  composition  of  the  Escenas 
del  ? de  Mayo  de  1808  and  The  Execution  of  Maxi- 
milian, by  Manet,  is  of  interest. 

The  composition  of  the  sketch  for  Escenas  del 
j de  Mayo  de  1808  is  identical  with  that  of  the  larger 
work  as  already  described.  The  file  of  soldiers,  who 
are  placed  at  the  right  of  the  picture,  are  painted  in 
obscure  tones  of  Ijrown  and  gray.  The  condemned 
people  are  grouped  at  the  left.  The  central  figure 
of  this  group,  in  a white  shirt  and  yellow  pantaloons, 
forms  the  principal  light  note  in  the  composition. 
The  sky  is  l3lue-black.  In  the  background  is  a group 
of  buildings  in  obscure  color.  The  general  tone  of 
the  picture  is  a warm  and  luminous  brown  relieved 
l)y  touches  of  yellow  ochre  and  black.  From  the  col- 
lection of  the  late  Francis  Lathrop.  On  canvas — 
0.47  X 0.60. 


[79] 


SEVENTY  DRAWINGS  IN  SEPIA 


SEVENTY  DRAWINGS  IN  SEPIA,  BY  FRAN- 
CISCO GOYA  Y LUCIENTES 


During  the  last  years  of  his  life,  passed  at  Bor- 
deaux, Goya's  health  and  eyesight  were  so  enfeebled 
through  old  age  that  he  painted  but  a small  number 
of  pictures.  Nevertheless,  the  restless  energy  and 
indomitable  spirit  which  had  always  been  so  strongly 
characteristic  of  him  still  controlled  his  failing  phys- 
ical powers  and  allowed  him  no  repose.  “Goya  does 
not  know  what  he  wants,  or  what  he  wishes  for,” 
wrote  his  friend  Leandro  Moratin,  the  poet,  on  April 
24,  1825.  “I  advise  him  to  remain  at  peace  until  his 
‘leave’  expires.  He  likes  the  town,  the  country,  the 
climate,  the  food,  the  independence  and  tranquillity 
he  has  enjoyed  since  his  arrival.  He  has  not  had  to 
suffer  from  any  of  the  annoyances  which  troubled 
him  before.  Yet  at  some  moments,  he  has  the  idea 
that  there  is  much  for  him  to  do  at  Madrid.  If  we 
left  him  alone,  he  would  take  to  the  road  on  a stub- 
born mule  with  his  cloak,  his  mantle,  his  stirrups,  his 
l)ottle  and  his  wallet.”  On  Octol)er  7,  1825,  Moratin 
wrote  another  letter,  giving  a somewhat  humorous 
l)ut  entirely  sympathetic  view  of  the  hery  old  painter: 

[83] 


‘‘Goya  maintains  that  formerly  he  descended  into  the 
arena  and  sword  in  hand  feared  no  one  ...  in  two 
months,  he  will  be  eighty  years  old.” 

Driven  then  by  an  unconqnered  will,  by  his 
restless  energy,  by  an  unexhausted  curiosity  and 
appetite  for  life,  Goya,  in  his  old  age,  although 
unable  to  undertake  large  pictures,  was  unceasingly 
active  as  an  artist.  He  took  up  lithography;  he 
painted  in  miniature  and  devoted  much  time  to  the 
production  of  a series  of  drawings  in  various  me- 
diums that  reflected  incidents  of  the  daily  life  of 
that  colony  of  Spanish  exiles  among  whom  he  made 
his  home  at  Bordeaux.  Goya  lived  there  with  his 
cousin,  Leocardia  Weiss,  a widow,  who  assumed 
charge  of  his  household.  Rosaria  Weiss,  the  little 
daughter  of  Dona  Leocardia,  born  in  1814,  was 
a great  favorite  of  the  old  painter.  Among  his 
other  associates  were,  besides  the  poet  Moratin,  the 
l)anker,  Juan  Bautista  Muguiro;  Jose  Carnerero; 
Jose  Alea,  the  author;  Vicente  Peleguer;  the  poli- 
tician, Manuel  Silvela ; Pio  di  Molina ; and  Pastor, 
Gurea  and  O'Daly,  who  were  military  men. 

iVccording  to  Lafond,  who  has  written  a val- 
uable study  of  the  last  days  of  Goya,  the  little 
group  of  Spanish  exiles  adopted  the  custom  of  meet- 
ing in  a chocolate  shop  in  the  Rue  de  la  Petite- 

|84] 


Taupe,  kept  l)y  a certain  Braiillio  Poe,  a former  resi- 
dent of  Zaragoza.  There  they  would  sit  and  discuss 
the  political  questions  of  the  day.  Lafond  describes 
Leocardia  Weiss  as  turbulence  itself,  keen  for  dis- 
traction, always  moving  about  and  turning  the  rooms 
upside  down.  “Goya  is  here  with  his  Doha  Leocar- 
dia," wrote  Leandro  Moratin  on  Octol)er  23,  1824, 
“and  I notice  no  great  harmony  reigning  in  his 
household."  And  again:  “Doha  Leocardia  with  her 
customary  dauntlessness  quarrels  at  times  and  at 
times  makes  merry."  She  dragged  the  old  painter 
to  the  four  corners  of  Bordeaux.  With  Rosaria 
they  attended  the  popular  fairs  and  travelling  circuses 
that  passed  through  the  town.  Goya’s  friendship 
with  his  little  “god-daughter"  or  “adopted  daughter," 
as  she  is  spoken  of  in  some  letters,  was  marked  Iw 
a profound  mutual  affection.  Rosaria  appears  to  have 
been  a very  lively  and  talented  child.  “La  Mariquita 
speaks  French  like  a paroquet,  runs,  jumps  and  amuses 
herself  with  the  children  of  her  own  age,"  wrote 
iMoratin.  Goya  had  a high  opinion  of  her  artistic 
talent.  “This  astonishing  child,”  he  wrote  on  Decem- 
ber 28,  1824,  to  Don  Joaquin  Ferrer  at  Paris,  “wishes 
to  learn  miniature  painting,  and  I wish  it  also,  for 
to  paint  as  she  is  painting  at  her  age  is  the  greatest 
])henomenon  in  the  world.  She  possesses  special  ([ual- 

[851 


ities,  as  you  will  see.  If  you  will  be  kind  enough  to 
help  me,  I want  to  send  her  to  Paris,  but  I would 
like  you  to  consider  her  as  if  she  were  my  daughter. 
I will  repay  you  with  my  works  or  my  goods.  I 
send  you  a small  sample  of  her  ability.  All  the  pro- 
fessors at  Madrid  have  marvelled  at  it,  particularly 
the  incomparable  Martin.  If  I were  not  afraid  of 
adding  to  the  weight  of  my  letter,  I would  send 
much  more.” 

Rosaria,  however,  did  not  study  at  Paris. 
She  was  placed  as  a pupil  of  drawing  in  the  estab- 
lishment of  a manufacturer  of  wall-papers  named 
V ernet,  where  she  worked  for  two  years  and  then 
entered  the  class  of  the  director  of  the  works,  the 
painter  Antoine  Lacour.  The  instruction  which  she 
received  from  this  poor  provincial  artist  was  not  to 
the  taste  of  Goya.  A.  Dauzats,  who  during  his  youth 
frequented  the  studio  of  Lacour,  has  recalled  that 
Goya,  then  a feeble  old  man,  after  having  brought 
his  ward  to  the  class,  would  occasionally  pass  among 
the  pupils,  examining  their  studies,  and,  fuming  with 
irritation,  would  mutter  under  his  breath,  ‘‘No  es  eso,” 
‘‘That's  not  it."  Rosaria  Weiss  did  not  fulfill  the 
high  hopes  of  Goya.  La  Sylphide,  one  of  her  pictures 
now  in  Bordeaux,  is  both  weak  and  insipid.  After 
the  death  of  her  guardian  she  returned  to  Madrid, 

[861 


where  she  made  excellent  copies  of  old  masters  and 
was  eventually  appointed  Professor  of  Drawing  to 
Queen  Isabella.  In  July,  1840,  while  on  her  way  to 
the  royal  palace,  she  became  involved  in  a street  riot. 
The  shock  sustained  at  that  time  resulted  in  a fever, 
from  which  she  died  on  July  31,  1840,  when  but 
twenty-six  years  of  age. 

Although  an  octogenarian,  half  blind  and  almost 
totally  deaf,  Goya  made  scores  of  drawings  at  Bor- 
deaux. He  worked  in  ink,  in  sepia  or  other  water 
color,  in  red  crayon,  chalk  or  pencil,  helping  his  feel)le 
vision  by  the  use  of  double-lensed  glasses  and  a large 
magnifier.  He  drew  scenes  of  the  circus,  such  as  a 
serpent  tamer  or  a thin  man  exhibited  as  a ‘diving 
skeleton,”  vendors  in  the  market  place,  ecclesiastics, 
the  execution  of  a criminal  by  the  guillotine,  a widely 
varied  series  of  impressions  of  the  life  of  the  city. 
IMany  of  these  drawings  are  marked  by  humor  and 
reveal  a sort  of  ironic  philosophy  ; some  of  them  reflect 
in  a mild  way  the  caustic  and  mocking  cjualities  of  the 
Caprichos.  Their  satire,  however,  is  far  less  biting 
and  without  the  cruel  sting  of  the  cele1)rated  etch- 
ings. Lafond  has  well  expressed  this : “Goya,  less 
extreme  than  in  his  youth,  more  contemplative,  wiser, 
more  master  of  himself  and  of  his  thought,  has  here 
in  part  forsaken  the  fantastic  and  the  macabre  so 

[87] 


frequently  employed  in  the  Caprichos,  of  which  they 
form,  indeed,  one  of  the  essential  elements.  It  is 
true  that  the  times  had  changed.  Like  the  Caprichos, 
this  suite  of  drawings  contains  something  of  every- 
thing, of  philosophy,  of  morals,  of  ecstasy,  scenes  of 
popular  life  and  simple  incidents  found  through  happy 
accident.” 

The  greater  number  of  Goya’s  drawings  made 
during  the  last  few  years  of  his  life  are  undoubt- 
edly memory  drawings.  Timothy  Cole,  the  celebrated 
wood  engraver,  writes : ‘T  was  told  by  a Spanish 
painter,  whose  father  had  known  Goya  person- 
ally, that  the  great  man  was  wont  to  declare  that 
he  who  aspired  to  the  name  of  artist  should  be  able 
to  reproduce  from  memory,  with  brush  or  pencil,  any 
scene  or  incident  in  all  its  essential  features  after 
having  once  beheld  it.”  This  idea  is  admirably  car- 
ried out  in  the  Bordeaux  drawings.  There  is  no 
attempt  at  finish ; the  artist  drives  directly  at  the 
essentials  of  the  subject;  every  line  is  trenchant;  the 
synthesis  of  the  action  and  of  the  character  once 
caught,  the  drawing  is  left  as  complete.  As  a result, 
all  these  sketches  are  remarkable  for  their  vitality ; 
they  bear  no  trace  of  that  uncertainty  of  touch  gen- 
erally characteristic  of  those  whose  eyesight  is  im- 
paired. Especially  is  there  no  trace  of  that  “fussiness,” 

I 88] 


to  use  a studio  term,  which  nearly  always  marks  the 
work  of  a craftsman  of  advanced  years.  “It  is  im- 
possible to  push  a contempt  for  process  further  than 
did  Goya,”  wrote  Yriarte.  “Even  when  he  drew,  it 
was  necessary  for  him  to  find  a new  and  original 
method.  Everything  was  of  service  to  him;  he  em- 
ployed black  crayon,  red  chalk,  the  pen  or  the  brush. 
This  he  used  as  a pencil,  by  filling  it  with  Chinese 
ink ; he  dipped  it  in  his  inkwell,  squeezing  out  the 
ink  with  his  hngers,  making  use  of  a blot  or  an  acci- 
dent in  the  paper.  At  times,  also,  he  scratched  a 
dark  background  with  the  handle  of  a brush  or  a 
pointed  instrument,  so  as  to  silhouette  upon  it  a white 
figure : or,  at  other  times,  after  having  commenced 
a sketch  upon  a newspaper  or  poster,  he  hnished  it 
by  dipping  his  brush  in  writing  ink  mixed  with 
Spanish  tobacco." 

These  drawings  of  his  old  age  were  prob- 
ably made  by  Goya  simply  for  his  own  pleasure. 
Lafond  suggests : “Goya  marked  five  dots  at  ran- 

dom on  a piece  of  paper,  or  had  them  marked  by 
someone  present.  Then  he  drew  a hgure,  whose  head, 
hands  and  feet  had  to  pass  through  these  points. 
The  exercise,  which  used  to  be  much  practiced  in 
studios,  was  known  in  Spain  under  the  name  of  Jiiego 


de  rigiiitillas.  If  we  examine  carefully  most  of  the 
drawings  made  by  Goya  at  Bordeaux,  we  find  the 
five  dots.”  Goya’s  drawings  have  been  widely  scat- 
tered. Their  number  may  only  be  approximately 
estimated.  Many  exist  which,  made  before  the 
artist’s  removal  from  Madrid,  served  as  studies  for 
etchings.  In  the  Museo  del  Prado  are  nearly  two 
hundred  drawings,  with  many  studies  for  the  Capri- 
chos,  Desastres  de  la  Guerra,  Tauromaquia  and  Pro- 
ve rhios.  Von  Loga,  who  alone  of  Goya’s  biographers 
has  attempted  a list  of  his  drawings,  states  that  a 
hundred  were  divided  after  the  death  of  Frederico 
de  Madrazo,  of  which  Mariano  Fortuny  received 
fifty-six  and  Bernardino  Montanes  thirty-eight,  some 
of  the  set  passing  afterward  to  the  collection  of 
Aureliano  de  Beruete.  He  considers  that  these  draw- 
ings were  included,  as  were  the  drawings  of  the 
Prado  and  the  Biblioteca  Nacional,  in  the  three  hun- 
dred indicated  by  Matheron  as  belonging  to  Manuel 
Garreta.  In  1900  the  Marques  de  Casa  Jimenez  ex- 
hibited thirty-two  drawings  which  were  afterward 
sold. 

The  seventy  drawings  comprised  in  the  collection 
of  The  Hispanic  Society  of  America  are  in  sepia, 
use  having  been  made  of  both  pen  and  brush.  A few 

[90] 


suggest  that  a quill  of  paper  dipped  in  ink  has  been 
employed.  No.  I is  clearly  a scene  of  circus  life. 
Nos.  II,  III  and  IV  also  probably  record  figures  in 
some  spectacle.  No.  V recalls  Plate  18  of  the  Capri- 
chos.  From  the  collection  of  M.  R.  Foulchc-Delbosc, 
editor  of  Revue  Hispaniqiie.  On  paper — 0.15x0.10. 


II 


Ill 


IV 


V 


VI 


VII 


VIll 


IX 


X 


XI 


XII 


XIII 


XIV 


X\' 


XVI 


XVII 


XVIII 


XIX 


XX 


XXI 


XXI 1 


XXIII 


XXIV 


XXV 


XXVI 


XXVII 


4 


XXV 1 1 1 


XXIX 


XXX 


XXXI 


XXXll 


XXXIII 


XXXIV 


XXXV 


XXXVI 


XXX  VJl 


XXXVIII 


m 


XXX  IX 


XL 


XLT 


XL  II 


XLIII 


XLIV 


XLV 


XLVl 


XLVll 


XLVIII 


XLIX 


L 


JJ 


LII 


iis 


LIV 


1 


LVI 


LVII 


LVIII 


LIX 


LX 


LXI 


- 


LX  II 


I.X  1 1 1 


LXIV 


LXV 


LXVl 


LXVll 


LXVIIJ 


LXIX 


LXX 


ETCHINGS  BY  GOYA  IN  THE  LIBRARY  OF 
THE  HISPANIC  SOCIETY  OF  AMERICA 


11 


! 


•XV 


ETCHINGS  BY  GOYA 

IN  THE  LIBRARY  OF 
THE  HISPANIC  SOCIETY  OF  AMERICA 


The  LiTrary  of  The  Hispanic  Society  of  America 
contains  the  following  editions  of  the  etchings  of 
Goya : 

Caprichos  de  Goya;  colcccion  dc  ochcnta  cs- 
tampas  grahados  al  agiia  fuerfc  con  aguadas  de  resina 
por  cl  mismo.  Madrid,  Calcograf'ia  Nacional,  1868. 
80  plates. 

Treinta  y trcs  cstanipas  qiie  re  present  an  difer- 
entes  suertes  y actitudes  del  arte  de  lidiar  los  Toros, 
inventados  y grahados  al  agua  fuerte  en  Madrid  por 
Don  Francisco  de  Goya  y Lncientes.  yj  plates. 

These  plates,  originally  issued  separately,  are  bound  in  a 
modern  cover  of  red  leather  inscribed,  Los  Toros.  Goya. 

This  is  the  first  edition  of  the  Tauromaquia  engraved 
by  Goya  about  1815  and  almost  certainly  printed  under  his 
direction  if  not  by  his  own  hand.  The  exact  number  of  sets 
issued  is  not  known  but  was  certainly  very  limited.  Only  a 
few  sets  were  sold  during  the  life  of  the  artist,  the  rest  of 
the  edition  being  held  by  Goya’s  family  and  not  circulated 
until  after  the  death  of  his  son  Xavier  in  1855. 

Coleccion  de  las  diferentes  suertes  y actitudes 
del  arte  de  lidiar  los  toros  inventados  y grabadas  al 
agua  fuerte  por  Goya.  Madrid,  i8g^.  Estampado 
en  la  Calcograda  de  la  Imprenta  Nacional,  i8^j.  y ? 
plates. 


[163] 


This  is  the  second  edition  of  the  Tauromaquia.  The 
portrait  of  Goya  which  serves  as  Plate  i of  the  Caprichos  is 
printed  on  the  paper  cover  and  on  the  back  of  the  folio 
appears  the  title  of  the  first  edition,  Treinta  y tres  estampas 
quc  representan  diferentcs  suertes  y actitudes  del  arte  de 
lidiar  los  Toros,  inventados  y grabados  al  agua  fuerte  en 
Madrid  por  Don  Francisco  de  Goya  y Lucientes.  Both  the 
paper  and  the  printing  of  this  edition  are  inferior  to  that  of 
the  first  edition. 

La  Tanreaumachie,  rcciicil  de  quaranfe  csfainpcs 
inventees  et  graz’ccs  d reau-forte  par  Don  Francisco 
Goya  y Lucicntcs.  Loizclct.  Paris  [no  datc^.  40 
plates. 

This  edition  was  issued  about  1870  by  Loizelet,  of 
Paris,  a dealer  in  etchings,  who  purchased  the  original 
plates,  had  them  carefully  cleaned  and  issued  under  the 
French  title  as  given  above.  The  seven  plates  of  this 
edition  which  are  not  included  in  earlier  editions,  were 
almost  all  engraved  on  the  reverse  of  certain  of  the  plates 
of  the  series  as  first  published.  They  were  probably 
rejected  by  the  artist  as  unsatisfactory  for  one  reason  or 
another,  and  before  their  publication  by  Loizelet  were 
only  known  through  some  rare  trial  proofs. 

Los  Proverhios ; colcccion  de  dicz  y ocJio  Idminas 
inventadas  y grabadas  al  agna  fnerte  por  Don  Fran- 
cisco Goya.  Madrid.  Publicala  la  Real  Academia 
de  Nobles  Artes  dc  San  Fernando,  Madrid,  i8gi. 
18  plates. 

Upon  the  following  seven  pages  are  printed 
reproductions  of  typical  etchings  by  Goya.  The 
comments  in  quotation  marks  under  the  three  plates 
Nos.  12,  43  and  61  from  the  Caprichos  are  those 
which  the  artist  himself  wrote  for  these  etchings. 

[164] 


Francisco  Goya  y Lucientks 
From  the  etching  l)y  the  artist  of  liimsclf 
Plate  I of  Caprichos  (Caprices) 

“'I'he  portrait  of  (loya  serves  as  a frontis])iece  to  the  c<hlected  edition 
of  his  works.  He  is  represented  as  a man  of  al)ont  fifty  with  a (piick 
oblique  glance,  a large  eyelid  and  a sly,  mocking,  crow’s  foot  beneath. 
The  chin  is  curved  upward,  the  up]ier  lijr  is  thin  and  the  lower  one  jiointed 
and  sensual,  d'he  face  is  surrounded  by  a heard  of  a description  jiecnliar 
to  natives  of  southern  climates  and  tlie  head  is  covered  by  a hat  a la 
Bolraar.  The  whole  physiognomy  is  lliat  of  a man  of  strongly  developed 
character.” — I'lu'-ophile  Gautier. 


A Caza  de  Dientes.  Hunting  for  Teeth 
Caprichos.  No.  12 

“The  teeth  of  tliose  who  have  been  hanged  are  very  efficacious  in  bring- 
ing luck;  without  this  ingredient  nothing  wortli  wliile  can  be  done.  Is  it 
not  pitiful  that  the  common  folk  believe  such  foolishness?” 


El  Suexo  de  la  Razon  Pkuduce  Munstruos.  The  Sleep  oe 
Reason  Gives  Birth  to  Monsters 
Cap  rich  os.  No.  43 

“I  niaj^inali'iii  willioul  rcvison  produces  monstrosities;  united  with  reason 
it  l)ceonies  tlie  mother  of  the  arts  and  tlie  souret-  of  marvels.” 


VOLAVERUNT.  ThEY  ARE  DISAPPEARING 

Caprichos.  No.  6i 

“'!'he  group  of  sorcerers  wlio  form  the  support  for  our  elegant  lady  are 
more  for  ornament  than  real  use.  Some  heads  are  so  full  of  inflammable 
gas  tliat  they  have  no  need  for  balloons  or  soreerers  to  lly  away.” 


12 


Carlos  V Lanceando  un  Toro  en  la  Plaza  de  Valladolid 
Charles  V spearing  a bull  in  the  plaza  of  Valladolid 
La  Taitromaqnia  (The  Art  of  Bull-Fighting).  No.  lo 


Los  Pr overbios  (The  Proverbs).  No. 


Escapan  Entke  las  Llamas.  Escaping  Through  the  Elames 
Los  Dcsastrcs  dc  la  Guerra  (The  Disasters  of  JJhir).  No.  41 


House  in  Which  Goya  was  Born  at  Fuendetodos. 
From  a Sketch  by  Rafael  Aguado  Amal. 


A PORTRAIT  BUST  OF  FRANCISCO  GOYA, 
BY  MARIANO  BENLLIURE  Y GIL 

(See  Frontispiece) 


]\Iariano  Benlliure  y Gil  was  1:>orn  at  the  Grao 
of  Valencia,  September  8,  1862.  He  is  a younger 
brother  of  Jose  and  Juan  Antonio  Benlliure,  the 
painters.  From  bis  earliest  youth  be  showed  great 
ability  for  art.  As  a very  young  child  be  modelled 
small  figures  in  wax,  and  when  l)iit  twelve  years  of 
age  carved  in  wood  a life-size  religions  group,  Dcscen- 
dimicnto  dc  la  Cruz  {Descent  from  the  Cross).  In 
1871  be  followed  bis  eldest  In'otber  to  Madrid,  where 
be  studied  for  some  years,  exbiltiting  in  the  Exposi- 
tion of  Fine  Arts,  in  1876,  a wax  group,  Cogida  de 
un  Picador  {The  UDunding  of  a Picador),  wdiicb 
attracted  very  favorable  attention,  as  did  bis  ec|ues- 
trian  statue  of  Don  Alfonso  XII,  shown  two  years 
later.  At  seventeen  be  went  to  Rome,  where  be  mod- 
elled a statue  of  an  acolyte,  the  title,  Aeeidente,  being 
the  Italian  exclamation,  and  not,  as  it  is  often  ren- 
dered, An  Accident.  This  w-ork  was  awarded  a 
second  medal  at  the  iMadrid  Fx])osition  of  1884, 
afterward  being  acquired  Iw  the  Duke  of  Fernan 
Xunez. 

This  success  was  followed  l)v  many  others. 
Benlliure  has  been  a prodigious  worker  and  has  ])ro- 

[173] 


(luced  a large  number  of  important  seulptures.  His 
bust  of  the  Valencian  painter  Luis  Domingo  (1718- 
67)  was  awarded  the  medal  of  honor  at  Vienna  and 
the  gold  medal  at  Berlin;  the  statue  of  the  painter 
Ribera  and  the  group  in  marble,  Al  Agua  {In  the 
Water),  a gold  medal  at  Madrid;  the  statue  of  the 
novelist  Trneba  received  the  medal  of  honor  at  Mad- 
rid, and  the  mausoleum  of  the  tenor  Gayarre,  the 
medal  of  honor  at  Paris.  From  1904  to  1907 
Mariano  Benlliure  was  director  of  the  Spanish  Acad- 
emy in  Rome,  and  is  Art  Director  of  the  Royal 
Spanish  Mint  and  of  the  Royal  Establisment  for  the 
Printing  of  Government  Paper.  He  is  a member  of 
the  Academies  of  San  Luca,  Rome ; San  Fernando, 
Madrid;  San  Carlos,  Valencia;  a corresponding 
member  of  the  Institut  de  France;  an  honorary 
member  of  the  Academies  of  Milan  and  Florence;  a 
chevalier  of  the  Legion  of  Honor  of  France;  a com- 
mendatore  of  the  crown  of  Italy,  and  has  received 
grand  crosses  of  the  Orders  of  Alfonso  XII,  of 
Isabella  the  Catholic,  of  the  Order  of  Military  Merit, 
and  of  the  Red  Cross  of  Spain.  Other  of  his  more 
important  statues  are ; Doha  Barbara  de  Braganza, 
modelled  for  the  entrance  of  the  Palacio  de  Justicia 
at  Madrid;  Don  Diego  Lopez  de  Haro,  in  the  Plaza 
Xueva  of  Bilbao;  Don  Alvaro  de  Bazan,  at  Madrid; 
El  Teniente  Ruiz,  in  the  Plaza  del  Rey  at  Madrid  ; 
General  Martinez  Campos,  in  the  Paseo  de  Codies 
del  Retiro,  Madrid;  Doha  Maria  Cristina,  Reina 
Gobernadora,  l)efore  the  Museo  de  Reproducciones  at 

[174] 


Madrid  ; V clazquez,  in  front  of  the  Miiseo  del  Prado, 
Madrid;  a decorative  work,  El  Infierno  del  Dante; 
and  finally  a statue  of  Goya  on  the  pedestal  of 
which  he  chiselled  the  beautiful  lines  of  the  figure  of 
the  celebrated  Maja  revealed  against  a l)ackground 
composed  of  figures  adapted  from  Goya’s  etchings. 

A bust  in  bronze.  Goya  is  represented  as  an 
old  man.  His  head  is  turned  slightly  to  the  right 
and  he  looks  downward  as  if  in  reflection.  The  like- 
ness is  clearly  founded  on  the  celebrated  portrait  of 
Goya  by  Vicente  Lopez  y Portana  painted  in  the  early 
summer  of  1826,  when  the  sitter  was  over  eighty 
years  of  age.  Signed  at  the  left:  M.  Benlliure. 
Height — 0.59. 


In  the  Studio  of  Goya 
By  Francisco  Domingo  y Marques 


IN  THE  STUDIO  OF  GOYA,  BY  FRANCISCO 
DOMINGO  Y MARQUES 


Francisco  Domingo  y Marques  was  born  at 
Valencia,  March  12,  1842.  He  studied  in  the  Acad- 
emy of  San  Carlos  at  his  native  towm  and  with  the 
painter  Rafael  Montesinos  y Ramiro.  In  1867  he 
exhibited  for  the  first  time,  showing  a composition 
recording  an  historical  incident.  Shortly  after  he 
obtained  considerable  success  with  certain  genre  pic- 
tures. The  Spanish  Government  granted  him  a 
scholarship  at  Rome  in  1868,  where  he  painted  El 
Ultimo  Dia  de  Sagunto  {The  Last  Day  of  Sagunto), 
purchased  by  the  Valencian  Museum.  On  his  return 
to  Spain  he  painted  many  portraits,  among  them  that 
of  Ruiz  Zorrilla  for  the  municipality  of  Valencia; 
certain  historical  compositions,  such  as  Columbus  at 
Barcelona,  for  the  palace  of  the  Senate,  and  various 
decorative  compositions  for  the  Dukes  of  Bailen  and 
of  Fernan  Nunez.  Establishing  himself  at  Paris  in 
1875,  he  painted  portraits  and  genre  pictures,  the 
latter  showing  the  influence  of  Fortuny  and  Vleis- 
sonier.  Among  his  best  known  portraits  is  one  of 
His  Majesty  Don  Alphonso  XIII  as  a child.  His 
pictures  are  included  in  the  collections  of  many 
museums. 

Goya  is  shown  standing  in  the  middle  of  a 
large  studio  before  a canvas  which  is  turned  with 

[177] 


its  back  toward  the  spectator,  and  occupies  about 
one-third  of  the  area  of  the  picture.  He  is  repre- 
sented as  a man  of  about  seventy.  He  wears  a gray 
coat  with  black  trousers  and  white  waistcoat  and 
stockings.  He  carries  a palette  and  brushes.  He  is 
turned  toward  the  left  of  the  picture  and  regards 
two  models,  a man  and  a woman,  who  are  dressed 
in  country  costumes  and  are  dancing.  The  woman 
wears  a rose  petticoat  and  a blue  waist.  The  man 
is  in  gray  with  a yellow  waistcoat  and  red  sash. 
Behind  these  figures  are  shown  two  musicians  seated 
and  playing,  with  two  ladies  sitting  near  by.  At  the 
extreme  left  is  a divan,  on  which  are  seated  three 
other  spectators  of  the  dance.  The  figures  in  the 
background  are  painted  principally  with  black,  white 
and  yellow.  They  are  relieved  against  the  back  wall 
of  the  studio,  which  is  dark  in  tone  and  decorated 
with  two  large  pictures,  one  of  which  is  an  eques- 
trian portrait,  the  other  a figure  composition.  Signed 
below  to  the  right : Domingo.  On  canvas — 0.68  x 0.52. 


|178| 


'[■ 


/ 


Corv  OF  Goya's  Portrait  of  Pfdro  IMocarte 
I)V  Mariano  Fortuny 


A COPY  OF  GOYA’S  PORTRAIT  OF  PEDRO 
MOCARTE,  BY  MARIANO  FORTUNY 


^lariano  Jose  Maria  Bernardo  Fortuny  was  l^orn 
at  Reus,  in  Tarragona,  June  11,  1838.  He  was  the 
son  of  poor  parents,  his  father  being  a carpenter.  He 
received  an  education  in  the  primary  school  of  his 
native  town  and  ol^tained  at  least  an  elementary 
art  training  in  a drawdng  class  established  at  Reus 
by  Domingo  Soberano.  At  an  early  age  Fortuny 
was  left  an  orphan  and  came  under  the  guardian- 
ship of  his  grandfather,  who,  though  a joiner  by 
trade,  travelled  from  town  to  town  with  a collection 
of  wax  figures  which  he  exhibited.  Fortuny,  en- 
dowed from  earliest  childhood  with  extraordinary 
manual  dexterity,  showed  great  cleverness  in  the 
modelling  and  painting  of  these  figures.  In  1852, 
when  fourteen  years  of  age,  he  went  with  his  grand- 
father to  Barcelona,  where  he  hoped  to  obtain  means 
for  an  art  education. 

Through  the  influence  of  the  sculptor  Talarn 
he  secured  a pension  amounting  to  one  hundred  and 
sixty  reals  a month  and  his  tuition  fees  in  the  Bar- 
celona Academy  of  hfine  Arts,  where  he  entered 
the  studio  of  Claudio  Lorenzale.  His  brilliant 
gifts  at  once  made  themselves  manifest.  In  March, 
1857,  after  competition  with  other  students,  he  was 

[181] 


unanimously  awarded  a scholarship  at  Rome.  Here 
he  fulfilled  the  obligations  imposed  on  him  by 
the  terms  of  the  pension,  copying  Raphael  and 
other  old  masters,  and  producing  a considerable 
number  of  original  works.  Early  in  1860  he  was 
summoned  to  Barcelona  by  the  authorities  of  the 
city,  who  commissioned  him  to  go  to  Africa  and 
paint  a series  of  pictures  representing  the  principal 
incidents  of  the  war  then  being  waged  by  Spain 
against  Morocco.  Although  this  expedition  was  com- 
paratively brief,  it  exercised  a great  influence  upon 
the  painter’s  life  and  art.  He  fell  under  the  spell 
of  the  brilliant  light  and  color  of  north  Africa  and 
brought  every  resource  of  his  vivacious  and  supple 
technique  to  the  task  of  recording  the  kaleidoscopic 
scenes  of  Oriental  life  which  he  witnessed.  This 
love  of  light,  of  opulent  color,  of  movement,  of 
sparkling  and  brilliant  effect,  remained  character- 
istic of  Fortuny’s  art  until  his  death.  He  produced 
during  the  expedition  a large  number  of  sketches, 
many  of  which  served  later  in  the  composition  of 
more  pretentious  pictures.  The  return  to  Barcelona 
was  made  via  Madrid,  where  he  visited  the  Prado 
and  met  Federico  de  Madrazo,  then  director  of  the 
Royal  Museum. 

After  a brief  visit  to  Paris,  devoted  largely  to 
the  study  of  certain  of  the  battle  pieces  in  French 
national  collections,  he  proceeded  to  Rome  and 
commenced  for  the  city  of  Barcelona  an  immense 
canvas.  The  Storming  of  the  Moroeean  Camp  by 

[182] 


Spanish  Troops,  February  4,  i860.  This  huge  work, 
more  than  hfteen  meters  long,  occupied  much  of  the 
time  of  the  artist  during  the  next  few  years,  but 
remained  unfinished  at  his  death.  It  now  adorns  the 
Casa  de  la  Diputacion  at  Barcelona.  Fortuny  was  a 
rapid  and  incessant  worker.  Besides  his  battle  pic- 
ture he  produced  a remarkable  series  of  paintings  in 
oil  and  Avater  color  which,  after  a few  years,  brought 
as  their  reward  international  fame.  Visits  to  Madrid 
and  Paris  in  1867  and  1868  still  further  extended 
his  reputation  and  acquaintance.  Shortly  after  this 
time  he  married  Doha  Cecilia  de  Madrazo,  daughter 
of  Federico  de  Madrazo.  His  pictures  were  eagerly 
sought  for  by  collectors  and  museums.  His  life 
became  a series  of  triumphs.  He  turned  easily  from 
oil  to  water  color,  and  as  an  etcher  obtained  results 
as  distinguished  as  those  which  he  produced  with  his 
brush. 

In  1870  he  commenced  at  Rome,  and  hnished 
at  Paris,  La  Vicaria  [The  Vicarage  ) , or,  as  it  is  gen- 
erally called  in  English,  The  Spanish  Marriage,  pos- 
sibly his  most  famous  picture.  Exhibited  at  Paris,  it 
placed  him  at  once  among  the  most  celelu'ated  artists 
of  Europe.  La  J^icaria  is  a characteristic  work  of 
the  master  and  also  an  excellent  example  of  the  pre- 
vailing taste  in  pictures  during  the  period  in  which 
it  was  painted.  In  an  immense  and  picturesque 
sacristy  a brilliant  wedding  party  in  eighteenth- 
century  costume  is  shown  signing  documents  relating 
to  the  marriage.  A priest  supervises  the  ceremonv. 

[183] 


At  one  side  a group  of  toreadors,  sitting  in  care- 
less ease,  look  on  with  an  air  of  rather  inso- 
lent indifference.  The  figures  are  worked  with 
jewel-like  fineness,  color  and  brilliancy.  Despite  the 
remarkable  drawing  and  the  truth  of  the  types,  the 
over-decoration  of  the  accessories  and  the  too- 
adroitly  devised  grouping  result  in  an  effect  that  is 
more  theatrical  than  natural.  ‘‘A  sketch  of  Goya 
retouched  by  Meissonier,”  wrote  Gautier  of  this  pic- 
ture. Meissonier,  indeed,  did  Fortuny  the  honor  of 
posing  for  one  of  the  figures  in  the  composition.  The 
famous  La  Eleccion  de  Modello  (The  Choosing  of 
the  Model),  a masterpiece  of  rococo  artifice,  is  an- 
other canvas  of  the  same  order,  while  the  Fantasia 
Arabe  (Arab  Fantasy),  in  which  a number  of  Moroc- 
can warriors  are  shown  in  a mad  dance,  is  an  ex- 
cellent example  of  the  one  other  class  of  subject, 
Moroccan  life  and  customs,  to  which  the  artist 
devoted  his  talent.  From  1870  to  1872  Fortuny 
lived  at  Granada,  breaking  his  stay  there  by  twO' 
excursions  to  Africa.  In  1874  he  returned  to 
Rome.  On  November  21st  of  that  year,  when  only 
thirty-six  years  old  and  at  the  height  of  splendid 
powers  and  success,  he  died  somewhat  suddenly  from 
an  attack  of  malarial  fever  contracted  when  painting 
outdoors  at  Naples  and  Portici. 

Endowed  with  great  gifts  which  found  their 
most  natural  expression  in  dexterities  of  craftsman- 
ship, Fortuny's  works  are  more  remarkable  for  the 
unapproachable  vivacity  and  brilliance  of  their  tech- 

[184] 


nique  than  for  subtle  and  profound  qualities.  He 
was  a master  of  color,  his  works  glitter  with  har- 
monies that  recall  the  tones  and  patterns  of  a Per- 
sian carpet.  He  had  a clear  understanding  of  effects 
of  light,  knew  Spanish  national  types,  and  could 
render  them  well.  These  qualities  would  have  l)een 
of  service  had  he  cared  to  produce  pictures  of  his 
own  country,  marked  l)y  the  intense  realism  which 
has  been  the  chief  characteristic  of  Spanish  art  in  its 
greatest  epochs.  His  life  as  a painter,  however,  was 
passed  almost  entirely  outside  of  Spain.  He  himself 
was  a cosmopolitan ; he  chose  motives  with  regard 
for  the  opportunity  they  afforded  for  technical  dis- 
play, and  unfortunately,  much  of  his  work  reflected 
the  taste  for  bric-a-brac  and  rococo  artificiality  that 
marked  the  period  in  which  he  lived.  But  through 
his  technique  he  is  related  to  the  national  school  of 
his  native  country:  the  fluency,  the  abandon,  the 

brilliancy  of  his  style  are  thoroughly  Spanish.  His 
manner  of  painting  is  manifestly  founded  on  that  of 
Goya.  The  audacity  and  vigor  of  his  attack,  the 
staccato  quality  of  his  touch  in  applying  pigment  to 
canvas,  recall  the  method  employed,  especially  in 
smaller  works,  by  the  great  Aragonese  master.  The 
admiration  and  understanding  with  which  Fortuny 
regarded  the  art  of  Goya  is  evidenced  in  the  copy 
which  he  made  of  Goya’s  portrait  of  iMocarte.  For- 
tuny painted  the  copy  with  gusto ; he  was  evidently 
in  sympathy  with  the  style  of  the  older  master.  There 
is  no  trace  of  niggling,  so  common  in  a copy.  The 

[185] 


1.3 


resemblance  between  the  methods  of  the  two  artists 
is  clearly  shown  in  the  felicity  with  which  Fortuny 
reproduced  Goya’s  peculiarly  individual  manner  of 
painting  the  embroideries  of  the  toreador’s  jacket. 

Don  Pedro  Mocarte  was  a singer  in  the  cathe- 
dral of  Toledo  and  an  intimate  friend  of  Goya.  The 
singer  is  shown  in  the  costume  of  a torero.  It  is  not 
known  whether  he  was  painted  in  this  costume  because 
he  was  an  admirer  of  the  sport  of  bull-fighting  or 
l)ecause  the  costume  gave  opportunity  for  picturesque 
effect.  The  original  picture  was  listed  by  Yriarte  in 
1867  as  in  the  collection  of  Don  Luis  de  Madrazo, 
of  Madrid.  At  one  time  it  figured  in  the  Edwards 
collection  at  Paris,  afterward  passing  to  Don  Rai- 
mundo  de  Madrazo,  from  whom  it  was  acquired  by 
its  present  owner,  Mr.  Archer  M.  Huntington,  Pres- 
ident of  The  Hispanic  Society  of  America,  in  whose 
private  collection  it  now  hangs.  The  copy  by  For- 
tuny was  obtained  for  The  Hispanic  Society  from 
Don  Raimundo  de  Madrazo. 

A life-size  head  and  bust  portrait.  The  subject 
is  shown  turned  slightly  to  the  left  and  regarding 
the  spectator.  He  wears  a white  shirt  with  black 
neckpiece  and  toreador’s  jacket  of  brownish  gray 
satin  with  silver  embroideries.  About  his  shoulders 
is  a capa  or  bull-fighter’s  cloak  of  a dark  reddish 
color,  lined  with  satin  of  a brownish  pink.  The  back- 
ground is  almost  black.  Signed  below  to  the  right: 
Fortuny.  On  canvas — 0.76x0.56. 


[186] 


VICTIMS  OF  WAR,  AND  A CARNIVAL  SCENE, 
BY  EUGENIO  LUCAS 


Eugenio  Lucas  was  born  at  iMadrid  in  1824.  He 
studied  painting  at  the  Academy  of  San  Fernando 
at  iMadrid  and  in  1849  exhibited  a number  of  land- 
scapes in  an  exhibition  held  under  the  auspices  of 
that  institution.  In  1855  he  was  represented  in  the 
Ehiiversal  Exhibition  at  Paris  by  two  pictures,  A Biill- 
FigJit  at  Madrid  and  An  Episode  of  the  Revolution 
of  i8j-i  in  the  Puerto  del  Sol.  With  the  French 
artist  Philastre,  he  decorated  with  fresco,  in  the  style 
of  the  Renaissance,  the  ceiling  of  the  Teatro  de  la 
Opera  at  IMadrid.  ‘Tn  four  great  medallions,"  writes 
Ossorio  of  this  work,  "are  painted  mythological 
scenes  showing  life-size  figures.  The  first  represents 
the  Arts  with  their  attributes : the  second,  the  Dance 
directed  by  Terpsicore;  the  third.  Lyric  Poetry  pre- 
sided over  by  Erato,  who  is  encouraging  the  \^irtues 
and  banishing  the  Alices : in  the  fourth  Euterpe  is 
seen  conducting  a concert.  In  some  circular  forms 
are  half-length  portraits  of  IMoratin,  Bellini,  \^elaz- 
quez,  Calderon  and  Fernando  de  Herrera.  Lucas  was 
an  artist  of  abundant  talent  and  considerable  techni- 
cal attainment.  He  appears  to  have  lacked,  however, 
a personality  of  sufficient  strength  to  have  enabled 
him  to  produce  works  in  a single  manner  distinctly 

[187] 


his  own  and  representative  of  a personal  point  of 
view.  He  spent  much  of  his  time  in  making  imita- 
tions of  the  paintings  of  old  masters,  working,  accord- 
ing to  Lafond,  under  the  constant  pressure  of  neces- 
sity. Lafond  wrote : “Lucas  reproduced  Breughel, 
Teniers,  Wouwerniann,  Watteau,  as  well  as  the  painter 
of  Las  Mcninas,  and  brushed  in  easily  in  an  after- 
noon a copy  or  an  imitation,  more  or  less  exact,  of 
these  masters,  that  was  then  exchanged  during  the 
day  for  two  or  three  dollars  in  the  cafes  or  hotels  of 
Madrid.”  The  artist  died  at  Madrid,  September  11, 
1870. 

Eugenio  Lucas  is  then  chiefly  rememl:»ered  as  a 
result  of  his  remarkable  facility  in  imitating  works 
of  the  great  painters  of  past  epochs.  His  produc- 
tions after  these  artists  were  distinctly  imitations,  not 
merely  pictures  influenced  by  their  style;  he  chose 
subjects  similar  to  the  subjects  of  the  man  he  sought 
to  copy  and  painted  them  with  slavish  imitation  of 
every  trick  of  technique  of  the  original  artist.  He 
was  particularly  successful  in  imitation  of  the  smaller 
pictures  of  Goya.  He  succeeded  so  admirably  in 
reproducing  the  spontaneity  of  Goya’s  brush-stroke, 
the  very  spirit  of  the  work  of  the  great  Aragonese 
master,  that  it  is  often  difficult  to  tell  a Lucas,  when 
painted  at  the  artist’s  best,  from  a Goya.  As  a whole, 
however,  Lucas  is  heavier  than  Goya,  his  manner  is 
less  varied,  the  figures  and  compositions  of  his  pic- 
tures are  less  solidly  constructed  than  in  the  works 
of  the  painter  he  imitated.  He  also  had  a tendency 

[188] 


to  exaggerate  the  manner  and  method  which  he  copied 
from  his  model,  so  that  his  pictures  have  often  a 
slight  air  of  caricature.  A list  of  titles  of  his  paint- 
ings would  read  much  like  a list  of  Goya  paintings. 
A few  are:  Two  Bandits  Kneeling  Before  the  Head 
of  a Comrade  Nailed  to  a Post,  A Temptation,  An 
Exoreism,  tVitehes  with  Children,  Masqueraders, 
Drunkards,  A Young  Girl  and  an  Old  IJAinan,  A 
Miser,  Gallantries  of  the  Seventeenth  and  Eighteenth 
Centuries. 

Aureliano  de  Beruete  y Moret,  in  his  work  on 
Velazquez,  refers  to  Lucas  as  ‘'The  clever  pastieheur 
of  the  sketches  and  even  of  the  paintings  of  Goya, 
Eugenio  Lucas,  whose  works  are  attributed  to  Goya 
in  many  collections  and  even  museums.”  He  adds 
that  Lucas  “tried  also  to  imitate  Velazquez,  but  these 
badly  designed  imitations,  verging  on  caricature,  have 
deceived  nobody.”  Lafond  is  less  severe:  “His  paint- 
ing, frank,  free,  all  vivacity,  energy  and  daring,  full 
of  tempest,  traversed  by  flashes  of  lightning,  executed 
with  furious  strokes  of  the  brush,  is  stupefying  in 
its  audacity  and  surety.  . . . His  sketches,  bold  to 
the  point  of  recklessness,  are  usually  improvised  with 
a palette  knife.  When  seen  near  by,  they  are  gen- 
erally only  a chaos  of  hard  tones,  but  from  a little 
distance  everything  harmonizes,  is  explained  and 
takes  form.  The  personages  which  these  sketches 
include  are  extremely  rudimentary  and  summary  in 
treatment,  with  violently  illuminated  visages  and  big 
round  eyes  like  lotto  discs,  which  recall  perhaps  too 

[189] 


much  those  of  Polichinelle.  Nevertheless  they  live, 
are  well  in  their  place  and  in  accord  with  the  atmos- 
phere in  which  they  move.  His  tempestuous  skies,  full 
of  menacing  clouds  ready  to  burst  in  cascades  of  rain 
or  hail,  attain  at  times  the  pathetic.  The  canvases 
render  marvellously  the  landscapes  of  La  Mancha 
and  of  Castile,  which  have  not  changed  at  all  since 
Velasquez,  with  their  desolate,  tottering  ruins  ; their 
yellow  and  discolored  barrens ; their  arid  and 
monotonous  plains.”  Today  the  pictures  of  Lucas 
are  selling  upon  their  own  merits.  ‘'The  merchants 
and  the  antiquity  dealers,”  states  Lafond,  “who  dis- 
dained the  productions  of  Lucas  during  his  life, 
search  for  them  now,  too  often,  it  is  true,  to  sell 
them  under  the  name  of  Goya.  But  in  the  Penin- 
sula the  works  of  Lucas  have  no  longer  need  of  this 
false  passport  and  circulate  under  their  true  name. 
The  wisest  collectors  have  no  fear  of  making  a 
])lace  for  them  in  their  collections.  If  Eugenio 
Lucas  were  not  an  artist  of  first  rank,  if  he 
lacked  an  elevated  enough  mentality,  a sufficiently 
personal  sentiment  to  illumine  the  firmament  of  art 
with  a new  light,  if  he  is  nothing  more  than  the 
attenuated  echo  of  the  great  masters  who  had  pre- 
ceded him,  of  Velazquez,  and  above  all  of  Goya,  he 
remains,  nevertheless,  an  original  artistic  character, 
a painter  in  the  true  sense  of  the  word,  and  that 
suffices.” 


[190] 


I- 

_ , m:- 


! 


r - ■ ' 

It  ' 


Victims  of  War. 
By  Eugenio  Lucas. 


VICTIMS  OF  WAR 


Slightly  to  the  left  of  the  center  of  the  picture, 
the  principal  figure,  that  of  a man  who  has  been 
shot,  is  bound  to  a tall  post.  He  wears  a white 
shirt,  blue  trousers  and  sash,  and  white  stockings. 
His  eyes  are  covered  with  a handkerchief.  At  his 
feet  to  the  right  crouches  a woman  dressed  in  red 
and  green ; behind  is  a figure  in  white,  the  hands 
clasped  before  the  face,  as  though  in  terror.  To  the 
right  and  left  are  bodies  of  dead  men,  secured  to 
posts  in  the  same  manner  as  the  central  figure.  The 
scene  takes  place  at  night.  The  sky  is  obscure ; 
against  it  rises  the  smoke  of  bonfires.  The  fore- 
ground, littered  with  the  debris  of  war,  is  of  a rich 
brown  color.  Unsigned.  On  canvas — 0.70x0.54. 


[193] 


A Carnival  Scene 
By  Eugenio  Lucas. 


A CARNIVAL  SCENE 


A group  composed  chiefly  of  men  and  boys  is 
shown  out  of  doors  at  night,  playing  musical  instru- 
ments and  singing.  The  figures  are  three-quarter 
length  and  revealed  against  an  obscure  night  sky. 
The  interest  is  centered  on  two  men,  who  are  placed 
slightly  to  the  left  of  the  picture.  They  are  playing 
guitars.  One  is  dressed  in  a white  shirt  with  a blue 
sash  and  blue  trousers,  and  has  a red  handkerchief 
bound  about  his  head.  The  other  wears  a capa  of 
l^lue  and  yelloAv  with  a large  black  hat.  In  the  fore- 
ground to  the  right  are  two  boys,  one  playing  a 
triangle  and  the  other  a tambourine.  Their  clothes 
reflect  the  blue  and  yellow  note  of  the  central  figures. 
At  the  extreme  left,  in  the  foreground,  a man's  figure 
in  deep  obscurity  serves  to  accentuate  the  light  which 
pours  in  on  the  principal  actors  in  the  scene.  In  the 
background  is  a group  of  men  and  women  singing; 
two  of  them  carry  wine  glasses.  Signed  l)elow  to 
the  left:  E.  Lucas.  On  metal — 0.30x0.41. 


[195] 


BIBLIOGRAPHY  OF  FRANCISCO  GOYA 


X 


BIBLIOGRAPHY  OF  FRANCISCO  GOYA 


Achiardi,  Pierre  d\  Les  dessins  de  D.  Francisco 
Goya  y Liicientes  au  Musee  dii  Prado  a Madrid. 
Rome,  1908. 

Alexandre,  Arsene.  Ecole  Espagnole.  (In  his 
Ecole  Allemande,  Espagnole  et  Anglaise.  Paris, 
1895.  Pp.  270-278.  Histoire  populaire  de  la 
peinture.  Vol.  IV.) 

Altspanische  Ausstellung;  Galerie  Heinemann. 
Munich,  1911.  Pp.  29-50. 

Amaiidry,  Eeonce.  The  collection  of  Dr.  Carvallo 
at  Paris:  Spanish  and  other  later  pictures.  (In 
P)urlington  Magazine.  Decemljer,  1904.  Wl. 
VI,  pp.  179-191.) 

Amici s,  Edmondo  de.  Spagna.  Elorence,  1873. 

Pp.  149-151. 

Espaha.  ^Madrid,  1877.  Pp.  150-151. 

Spain  and  the  S])aniards.  A^ew  York 

and  London,  1885.  Pp.  143-145. 

[199] 


Amicis,  Edmondo  de.  L’Espagne.  Paris,  1894. 
Pp.  123-125. 

Araujo  Sanchez,  Zeferino.  Goya.  Madrid,  1895. 
Eirst  published  in  La  Espaha  Moderna.  Jan- 
uary-April,  1895.  No.  73,  pp.  20-45;  no.  74, 
pp.  64-90;  no.  75,  pp.  101-134;  no.  76,  pp. 
74-114. 

Avrial,  Jose  Maria.  Informe  redactado  por  nues- 
tro  compahero  el  Sr.  D.  Jose  Maria  Avrial, 
despues  de  haber  leido  la  obra  de  Mr.  Pablo 
Lefort,  correspondiente  extranjero  de  la  Real 
Academia,  sobre  Goya  y sus  obras  grabadas  y 
litografiadas.  (In  Boletin  de  la  Real  Academia 
de  Bellas  Artes  de  San  Eernando.  Madrid, 
January,  1882.  Aho  II,  no.  11,  pp.  4-8.) 

Balsa  de  la  Vega,  Ricardo.  Exposicion  de  obras 
de  Goya ; Madrid.  ( In  La  Ilustracion  Espa- 
hola  y Americana.  1900.  Vol.  XLIV,  no.  43, 
p.  299.) 

Barcia,  Angel  M.  de.  Catalogo  de  la  coleccion  de 
dibujos  originales  de  la  Biblioteca  Nacional. 
Madrid,  1906.  Pp.  200-207. 

Catalogo  de  la  coleccion  de  pinturas 

del  Excmo.  Sr.  Duque  de  Berwick  y de  Alba. 
Madrid,  1911. 


[200] 


Barcia,  Angel  M.  cle.  Catalogo  de  los  retratos  de 
persona jes  Espanoles  qiie  se  conservan  en  la 
seccion  de  estampas  y de  bellas  artes  de  la  Bibli- 
oteca  Nacional.  Madrid,  1901.  Pp.  371-373. 

Goya  en  la  seccion  de  estampas  de  la 

Biblioteca  Xacional.  {fji  La  Revista  de  Archi- 
vos,  Bibliotecas  y Mnseos.  1900.  Vol.  IV,  no. 
4,  pp.  195-200.  ) 

Baudelaire,  Charles.  (Eiivres  posthnines  et  corre- 
spondances  inedits.  Paris,  1887.  19  204. 

Qnelques  caricatnristes  ctrangers  ; Goya. 

(In  his  Cnriosites  esthctiques.  Paris,  1880. 
Pp.  426-430.  ) 

Eirst  published  in  Le  Present,  1857.  P.  188. 

Bensusan,  Samuel  Levy.  A note  upon  the  paint- 
ings of  Erancisco  Jose  Goya.  (In  The  Inter- 
national Studio.  1901.  Vol.  XV,  pp.  155-161.  ) 

Goya,  his  times  and  portraits.  (In 

4'he  Connoisseur.  1902.  Vol.  II,  pp.  22-37 : 
vol.  IV,  pp.  115-123.) 

Beraldi,  Henri.  Les  gravenrs  dn  XIXe  siecle. 
Paris,  1888.  Pp.  188-200. 

[201] 


14 


Bernath,  Morton  H.  Die  spanische  Kimst.  {In 
New  York  und  Boston.  Leipzig,  1912.  Pp. 
113-118.) 


Bertels,  Knrt.  Goya.  Mnnieh,  1907.  (Klassische 
Illnstratoren.  No.  1.) 

Bernete  y Moret,  Anreliano  de.  Deiix  portraits 
inedits  de  Goya.  {In  Les  Arts.  April,  1913. 
No.  136,  pp.  1-4.) 

Line  Saminlnng  von  Tdandzeichnnngen 

des  Francisco  Goya.  {In  Zeitschrift  fiir  bild- 
ende  Knnst,  1907.  Nene  Folge.  Jahrg.  XVIII, 
pp.  165-171.) 


Exposicion  de  o1)ras  de  los  pintores 

Espanoles  en  el  Guildhall  de  Londres.  {In  La 
Lectnra.  October,  1901.  Aho  I,  no.  10,  pp. 
609-617.) 

The  school  of  Madrid.  London,  1909. 

P.  286. 

Boehm,  Max  von.  Francisco  de  Goya.  {In  Die 
Knnst  fhr  Alle.  1907.  Jahrg.  XXIII,  pp.  121- 
135.) 


[202] 


Bremon,  Jose  Fernandez.  La  casa  qne  habito  Goya. 
In  La  Illustracion  Espaiiola  y Americana. 
July  15,  1909.  Ano  LIII,  no.  26.) 

Brieger-WAsservogel,  Lothar.  Francisco  de  Goya. 
Olit  1 Gravnre,  52  original  Reprodnktionen  nnd 
19  text  lllnstrationen  nach  seltenen  Radierungen 
nnd  Handzeichnungen.  Berlin,  1911.  (Beck- 
mann's Knnstbucher. ) 

Brinton,  Christian.  Goya  and  certain  Goyas  in 
America.  ( In  Art  in  America.  Xew  York, 
1915.  Vol.  Ill,  no.  5,  pp.  85-lOB.) 

Ignacio  Znloaga.  (In  Catalogue  of 

paintings  l)y  Ignacio  Znloaga  exhibited  by  The 
Hispanic  Society  of  America,  March  20  to 
April  11,  1909.  \Yw  York,  1909.  Pp.  20,  23, 
31,  50,  86,  98,  102,  106,  110.) 

Olodern  artists.  X^ew  York,  1908.  Pp. 

165,  246,  251-252,  255-256,  260. 

Brunet,  Gustave.  Etude  snr  Francisco  Goya,  sa 
vie  et  ses  travanx.  Bordeaux  and  Paris,  1865. 

Francisco  Goya  y Lncientes.  (In  XYn- 

velle  biographic  general.  Paris,  1857.  Vol. 
XXI,  colnmns  514-518.) 

[203] 


Brunet,  Gustave.  L’CEuvre  de  Francisco  Goya. 
(In  Revue  Universelle  des  Arts.  1858.  Vol. 
VIII,  pp.  450-453.) 

Bull  Fight  by  Francisco  Goya,  The.  No  place,  no 
date. 

Gaffin,  Gharles  Henry.  The  Bourbon  dynasty; 
Francisco  Goya.  (In  Old  Spanish  masters  en- 
graved by  Timothy  Cole.  New  York,  1907. 
Pp.  161-172.) 

An  extraordinary  show  of  FI  Grecos 

and  Goyas.  (In  New  York  American.  Janu- 
ary 18,  1915.  No.  11,506.) 

Francisco  Goya  y Lucientes.  (In  The 

Print  Collector's  Quarterly.  April,  1911.  Vol. 
I,  no.  2,  pp.  190-236.) 

Reprinted  under  the  title  Goya  in  Prints  and 
their  Makers,  edited  by  Fitzroy  Carrington. 
New  York,  1912. 

Goya.  (In  his  The  story  of  Spanish 

painting.  New  York,  1910.  Pp.  171-190.) 

Calvert,  Albert  F.  Goya,  an  account  of  his  life 
and  works,  with  612  reproductions  from  his 
pictures,  etchings  and  lithographs.  London, 
1908.  (The  Spanish  series.) 

[204] 


Caprichos  de  Goya.  Madrid,  1909.  (Los  grandes 
maestros  de  la  pintiira  cn  Espana.  No.  1.) 

Sixty  reproductions  of  original  nnpiildished 
drawings. 

Carderera  y Solano,  Valentin.  Catalogo  y descrip- 
cion  snmaria  de  retratos  antignos  de  personajes 
ilnstres  espanolcs  y extranjeros  de  aml)os  sexos. 
iMadrid,  1877.  Pp.  103-106. 

Goya.  ( //^  El  Artista.  1835.  Vol.  II, 

pp.  253-255.) 

Carderera,  Valentin  and  P)iirty,  Philippe.  Eran- 
cisco  Goya,  sa  vie,  ses  dessins,  et  ses  eaiix-fortes. 
[In  Gazette  des  Beaux- Arts.  August,  15, 

1860;  September  1,  1863.  Vol.  VII,  no.  4, 
pp.  215-227:  vol.  XV,  no.  3,  pp.  237-249.) 

Cary,  Elizal)eth  Luther.  A remarkable  collection 
of  masterpieces  l)y  El  Greco  and  Goya  on  view 
for  the  heneht  of  war  relief  societies.  ( //i  New 
York  Times.  January  13  and  17,  1915.  Vol. 
LNIV,  nos.  20,808,  20,812.) 

Castelar,  Emilio.  Ln  viaje  a Paris  durante  el 
establecimiento  de  la  Repiiblica.  iMadrid,  1878. 
Chap.  NX. 

Catalogo  de  la  Exposicion  Nacional  de  Retratos. 
Madrid,  1902. 


[205] 


Catalogo  de  las  obras  de  Goya  expiiestas  en  el  Min- 
isterio  de  Instruccion  Piiblica  y Bellas  Artes, 
Mayo,  1900.  Madrid,  1900. 

Catalogo  de  los  cuadros  . . . de  la  coleccion  de  la 
antigiia  casa  Ducal  de  Osuna.  Madrid,  1896. 

Catalogo  de  los  cuadros,  estatuas  y bustos  que 
existen  en  la  y\cademia  Nacional  de  San  Fer- 
nando en  este  ano  de  1821,  con  expresion  de 
las  salas  en  que  estan  colocados,  numeros  que 
los  distinguen,  asuntos  que  representan  y au- 
tores  que  los  ban  egecutado.  Madrid,  1821. 

Caveda  y Nava,  Jose.  Memorias  para  la  historia 
de  la  Real  Academia  de  San  Fernando  y de 
Bellas  Artes  en  Espana,  desde  el  advenimiento 
al  trono  de  Felipe  V,  hasta  nuestros  dias. 
Madrid,  1867.  Vol.  I,  pp.  207-221. 

Clement  de  Ris,  Athanase  Louis  Torterat,  comte. 
Le  Musee  Royal  de  Madrid.  Paris,  1859. 
Pp.  30-32. 

Cole,  Timothy.  The  Bourbon  dynasty;  notes  by 
the  engraver.  {In  Old  Spanish  masters  en- 
graved by  Timothy  Cole.  New  York,  1907. 
Pp.  172-175.) 

With  engravings  on  wood  after  Goya’s  The 
washerwoman;  In  the  balcony:  Portrait  of 
Doha  Isabel  Corbo  de  Porcel. 

[206] 


Cortissoz,  Royal.  El  Greco  and  Goya.  {In  his 
Art  and  common  sense.  Xew  York,  1913.  Pp. 
300-304.j 

Two  old  masters  of  Spanish  art : YYrks 

by  El  Greco  and  Goya  shown  for  the  benefit  of 
war  funds.  {In  Xew  York  Tribune.  January 
13  and  17,  1915.  Xos.  24,895,  24,899.  ) 

Cossio,  hlanuel  Bartoleme.  El  Greco,  hladrid, 
1908.  Pp.  228,  244,  245,  320,  381. 

Courboin,  Francois.  L’Eau-Forte.  {Iji  Art  et 
Decoration.  April,  1906.  Vol.  XX,  no.  4,  pp. 
142-143.1 

Gourteault,  Paul.  Un  portrait  Bordelais  de  Goya. 
{In  La  Revue  Pbilomatbique  de  Bordeaux  et 
du  Sud-Ouest.  Bordeaux,  1909.  Annee  12, 
pp.  49-51.) 

Craigie,  Pearl  Olary  Teresa.  (John  Oliver  Hobbes, 
pseud.)  The  art  of  portraiture:  Dante  and 

Goya.  (7/z  The  Academy.  London,  April  23, 
1904.  \ ol.  LX\  I,  pp.  457-459.) 

Cruzada  \bllaamil,  Gorgio.  La  casa  del  sordo. 
{In  El  Arte  en  Espana.  Oladrid,  1868.  \Y1. 

VII,  p.  265.) 


Los  tapices  de  Goya.  Oladrid,  1870. 
[207] 


Dessiiis  inedites  de  Goya.  {In  Revue  Hispanique, 
1906,  1913.  Plates  1-20,  vol.  XV,  no.  48; 
plates  21-30,  vol.  XXIX,  no.  75;  plates  31-40. 
vol.  XXIX,  no.  76.) 

Dieiilafoy,  Jane  Paul  Rachel  Mayre.  Aragon  et 
Valence.  Paris,  1901.  Pp.  385,  456. 

Dieulafoy,  Marcel.  Art  in  Spain  and  Portugal. 
Xew  York,  1913.  Pp.  284-288. 

Distriljucion  de  los  premios  hecha  por  el  Real  Aca- 
demia de  S.  Fernando  el  27  de  Marzo,  1832. 
Madrid,  1832.  P.  92. 

Dodgson,  Campltell.  Bemerkungen  zu  den  Radier- 
ungen  und  Lithographien  Goyas  im  Britisclien 
Museum.  ( In  Beilage  der  graphischen  Kiinste. 
Vienna,  1907.  Xo.  1,  pp.  59-61.) 

Eau-Forte  inconnue  de  Goya,  Une.  {In  La  Revue 
de  TArt  Ancien  et  Moderne.  Deceml^er,  1901. 
Vol.  X,  no.  57,  p.  378.) 

I'errer  del  Rio,  :\ntonio.  Francisco  de  Goya  y 
Lucientes;  nuevos  y preciosos  datos  para  su 
vida.  Xo  place,  no  date. 

Extract,  24  pp. 

hdat,  Paul.  Goya ; portraitiste  et  peintre  des 
frescpies.  {In  I’Artiste.  Paris,  1892.  Nou- 
velle  periode.  Annee  62,  vol.  Ill,  pp.  161-171.) 

[208] 


Flitch,  John  Ernest  Crawford.  A little  journey  in 
Spain;  notes  of  a (loya  pilgrimage.  London, 
1914. 

Ford,  Richard.  A handliook  for  travellers  in 
Spain.  London,  1855.  Pp.  182,  686. 

Galvan  y Candela,  Jose  Maria.  Frescos  de  Goya  en 
la  iglesia  de  San  Antonio  de  la  Florida : gralja- 
dos  al  agna  fnerte  por  D.  Jose  i\I.  Galvan  y 
Candela  . . . texto  por  D.  Juan  de  Dios  de  la 
Rada  y Delgado,  precedido  del  in  forme  . . . por 
el  Excmo.  Sr.  D.  Pedro  de  Madrazo  . . . Mad- 
rid, 1897. 

Gautier,  Theophile.  Francisco  Go)^a  y Lucientes. 
[In  Le  Cabinet  de  I’Amateur  et  de  I'Antiquaire. 
Paris,  1842.  Vol.  I,  pp.  337-345.) 

AMyage  en  Espagne.  Paris,  1845.  Pp. 

127-137. 

Geffroy,  Gustave.  Goya.  ( In  Jus  Aladrid.  No 
place,  no  date.  Pp.  89-104.  Les  musees  (hEu- 
rope.) 

Gonse,  Louis.  Goya,  par  Lefort.  (In  La  Chron- 
ic|ue  des  Arts  et  de  la  Curiosite.  July  14,  1877. 
No.  25,  pp.  242-243.) 

[209] 


Gonse,  Louis.  Les  chefs-d’oeuvre  des  musees  de 
France.  {In  his  La  Peinture.  Paris,  1900. 
Pp.  99-100.) 

Gonzales  Marti,  Manuel.  Goya  y Valencia.  {In 
Forma.  Barcelona,  1908.  Vol.  Ill,  no.  25,  pp. 
3-31.) 

Goya  y Valencia.  {In  Museum.  1913. 

Vol.  HI,  no.  12,  pp.  429-450.) 

Goya.  Paris,  no  date.  (Les  peintres  illustres. 
No.  44.) 

Published  under  the  direction  of  M.  Henry 
Roujon. 

Goya,  Francisco.  {In  Vluseum.  1913.  Vol.  HI, 
no.  5,  pp.  159-192.) 

A Goya  number  with  thirty-four  reproduc- 
tions of  Goya  paintings. 

Goya  en  la  Exposicion  Retrospectiva  de  Zaragoza. 
{hi  Exposicion  Retrospectiva  de  Arte.  Zara- 
goza, 1908.  Pp.  101-115.) 

Goya  y Lucientes,  Francisco.  (In  Dictionnaire  des 
ventes  d’art  faites  en  France  et  a I’Hranger 
pendant  les  XVIP^^e  & NlX^ie  siecles.  Paris, 
1911.  Vol.  HI,  pp.  338-341.) 

[210] 


Goya  y Lucientes,  Francisco  Jose  de.  {In  Masters 
in  Art.  November,  1906.  Vol.  VII,  pt.  83.) 


Goya;  viaje  artistico.  ( /n  Espana  Ilnstrada.  Zar- 
agoza, 1894.  Vol.  II,  p.  285.) 

Granados,  Enrique.  Goyesca : Literas  y calesas  6 
los  majos  enamorados. 

This  is  the  original  manuscript  score  of  the 
opera,  Goyescas,  presented  to  The  Hispanic 
Society  of  America  by  the  composer  on  Janu- 
ary 29,  1916. 

Goyescas:  Primera  parte  de  los  majos 

enamorados.  Los  reqnieljros.  Coloqnio  en  la 
reja.  El  fandango  de  candil.  One j as  6 la 
maja  y el  rnsinor.  Edicion  facsimil  de  la  pri- 
mera parte  de  Goyescas  (Los  majos  enamo- 
rados) hecho  en  Barcelona  el  aho  de  1911. 

With  a facsimile  of  Plate  5 of  Caprichos. 

El  Greco  and  Goya ; Catalogue  of  a loan  exhibition 
of  paintings  l)y  El  Greco  and  Goya  for  the 
lienefit  of  the  American  war  relief  fund  and  the 
Belgian  relief  fund  on  exhibition  at  the  gal- 
leries of  M.  Knoeder  & Co.  New  York,  1915. 

Hamerton,  Philip  Gilliert.  Goya.  {In  The  Port- 
folio. London,  1879.  Pp.  67-73,  83-86,  99- 


Hartley,  C.  Gasquoine.  (Mrs.  Walter  Gallichan.) 
Goya.  {In  The  Art  Journal.  July,  1903.  Pp. 
207-211.) 

The  brief  revival  of  art  under  Fran- 
cisco Goya  y Lucientes,  the  genius  of  satire.  {In 
her  A record  of  Spanish  painting.  New  York, 
1904.  Pp.  274-298.) 

Head,  Sir  Edmund.  IVIodern  Spanish  masters.  {In 
his  A hand-book  of  the  history  of  the  Spanish 
and  French  schools  of  painting.  London,  1848. 
Pp.  217-218.) 

Hein,  Marguerite.  A hecole  de  Goya.  Paris,  1909. 

Hind,  Arthur  M.,  editor.  Francisco  Goya.  Lon- 
don, 1911.  (Great  engravers.) 

Hofmann,  Julius.  Francisco  de  Goya;  Katalog 
seines  graphischen  \Verkes.  Vienna,  1907. 

Huneker,  James  Gibbons.  Goya.  {In  his  Prome- 
nades of  an  impressionist.  New  York,  1910. 
Pp.  110-123,  359-360.) 

1 lunter,  George  Leland.  Spanish  looms.  {In  his 
Tapestries,  their  origin,  history  and  renaissance. 
New  York,  1913.  Pp.  227-228.) 

[212] 


Hiiysmans,  Joris  Karl.  Goya  et  Turner.  {In  his 
Certains.^  Paris,  1889.  Pp.  199-202.) 

Imbert,  P.  L.  Autour  de  Oladrid : la  quinta  de 
Goya.  {In  his  L'Espague ; splendeurs  et  mis- 
eres.  Paris,  1875.  Pp.  325,  331,  203-204.) 

The  Individualism  of  Goya;  eg'otisin  and  art.  {In 
Arts  and  Decoration.  Xew  York,  1915.  Vol. 
V,  p.  91.) 

Ivins,  Ydlliam  M.,  jr.  A note  on  Goya.  {In  Prints 
and  their  makers ; edited  by  Fitzroy  Carring- 
ton. XTw  York,  1912.  Pp.  164-165.) 

Jacquemont,  S.  Les  maitres  Espagnols  et  kart 
naturaliste.  ( In  Revue  des  Deux-klonds.  Sep- 
tember 15,  1888.  TroisiGne  pGdode.  Vol. 
LXXXIX,  pp.  378-413.  ) 

Jovellanos,  Caspar  Olelchor  de.  Obras  del  excelen- 
tisimo  Sehor  D.  Caspar  Olelchor  de  Jovellanos. 
Barcelona,  1840.  Vol.  V,  pp.  242-246. 

Justi,  Carl.  Diego  Velazquez  and  his  times.  Eon- 
don,  1889.  Pp.  72,  90,  143,  217,  313,  422,  440, 
448. 

Keppel  & Co.,  Frederick.  Catalogue  of  au  exhi- 
bition of  the  Caprices  and  the  Proverbs  etched 
by  Goya.  Xew  York,  1911. 

[213] 


Konody,  P.  G.  Goya,  the  artist  and  the  man.  {In 
The  Idler.  London,  1899.  Vol.  XV,  pp.  746- 
762.) 

Laban,  Ferdinand.  Die  Farbenskizze  zn  einem 
reprasentations-geinalde  Goyas.  {In  Jahrbuch 
der  koniglich  prenszischen  Knnstsammlungen. 
Berlin,  1900.  Band  XXI,  pp.  177-185.) 

Lacroix,  Paul  and  Thore  L,  editors.  Francisco 
Goya.  {In  Bulletin  de  rAlliance  des  Arts. 
Paris,  1842.  Vol.  I,  pp.  94-96.) 

Lafond,  Paul.  Goya.  Paris,  1902.  ( Les  artistes 

de  tons  les  temps.  Serie  C.  Les  temps  mo- 
dernes. ) 

First  published  in  Revue  de  TArt  Ancien  et 
Moderne.  1899-1901.  Vol.  V,  pp.  133-144, 
491-502:  vol.  VI,  pp.  45-56,  461-474;  vol.  VII, 
pp.  45-53;  vol.  IX,  pp.  20-35,  210-225. 

Les  dernieres  annees  de  Goya  en  France. 

{In  Gazette  des  Beaux-Arts.  1907.  Troisieme 
periode.  Vol.  XXXVII,  pp.  141-151,  241-257.) 

■ Trois  tableaux  de  Goya  au  Musee  de 

Castres.  {In  Chronique  des  Arts  et  de  la  Curi- 
osite.  March,  1896.  No.  11,  pp.  99-100;  no. 
12,  pp.  107-108.) 


[214] 


Leclerc,  Tristan.  Les  Caprices  de  Goya.  Paris, 
1910. 

Lefort,  Paul.  Francisco  (ioya:  etnde  Ijiographicjne 
et  critique,  snivi  de  Tessai  ddm  catalogue  rai- 
sonne  de  son  oeuvre  grave  et  lithographc\  Paris, 
1877. 

First  published  in  Gazette  des  Beaux- Arts. 
hTbrnary-April,  1867;  Fel)rnary-April,  1868; 
August,  1868.  Premiere  periode.  Yol.  XXII, 
pp.  191-205,  382-395;  vol.  XXIV,  pp.  169-186, 
385-399;  vol.  XXV,  pp.  165-180. 

Francisco  Goya.  ( In  Gazette  des 

Beanx-Arts.  Deceml)er,  1875;  February  and 
Deceinl)er,  1876.  Denxieme  periode.  Vol.  XII, 
pp.  506-514;  vol.  XIII,  pp.  336-344;  vol.  XIV, 
pp.  500-510.  ) 


Francisco  Jose  Goya  y Lucientes.  {In 

Histoire  des  peintres ; edited  by  Charles  Blanc. 
Paris,  1869.  Pp.  1-12.) 

La  peintiire  Espagnole.  Paris,  1893. 

P.  257. 


Ecole  Espagnole ; collection  Pacnlly. 

Paris,  1875-1876. 


[215] 


Lefort,  Paul.  Dona  Isabel  Corbo  de  Porcel.  {In 
Gazette  des  Beaux- Arts.  January,  1897.  Vol. 
XVII,  p.  67.) 

Lehrs,  Max.  Ein  Steindruck  Goyas.  {In  Jahrbuch 
der  koniglich  preuszischen  Kunstsammlungen. 
Berlin,  1907.  Band  XXVIII,  p.  50.) 

Ein  geschabtes  Aqnatintablatt  von  Goya. 

[In  Jahrbuch  der  koniglich  preuszischen  Knnst- 
sammlnngen.  Berlin,  1906.  Band  XVII,  pp. 
141-142.) 

Lira,  Pedro.  Erancisco  Goya.  {In  his  Diccionario 
biografico  de  piiitores.  Santiago  de  Ghile,  1902. 
Pp.  168-171.) 

Loga,  Valerian  von.  Erancisco  de  Goya.  Berlin, 
1903. 

Afterward  published  in  La  Espaha  Moderna, 
Jnne-November,  1909.  No.  246,  pp.  74-101 ; 
no.  247,  pp.  15-39  : no.  248,  pp.  5-31;  no.  249, 
pp.  80-106;  no.  250,  pp.  35-53;  no.  251,  pp. 
73-99. 

— — Erancisco  de  Goya.  Leipzig,  no  date. 

(Meister  der  Graphik.  Band  IV.) 

Goya’s  seltene  Radiernngen  nnd  Litho- 

graphien.  Berlin,  1907. 

[216] 


Loga,  Valerian  von.  Goya's  Zeichnungen.  {In 
Die  Graphischen  Kiinste.  1908.  Jahrg.  XXXI, 

pp.  1-18.) 


Los  cnadros  de  The  Hispanic  Society 

of  America.  {In  Mnsenin.  1913.  Vol.  Ill, 
no.  4,  pp.  119-135.) 

Lopez  Baga,  Eduardo.  L^na  visita  al  Real  IMiiseo. 
{In  Revista  Contemporanea.  October  15,  1878. 
AVI.  XVII,  no.  69,  pp.  287-288.) 

Low,  Will  H.  A century  of  painting;  Goya  and 
his  career.  {In  AIcChire's  Alagazine.  March, 
1896.  AVI.  VI,  no.  4,  pp.  337-340.) 

Lhcke,  H.  Francisco  Goya.  {In  Zeitschrift  fur 
bildende  Kimst.  1875.  Band  X,  pp.  193-199.) 

Francisco  Goya.  {In  Kiinst  und  Kiiiist- 

ler.  Leipzig,  1880.  P.  29. ) 

Liigar  de  Goya  en  la  pintura;  por  AL  Utrillo.  {In 
La  Lectnra.  February,  1905.  Aho  V,  no.  50, 

pp.  200-202.) 

A review  of  an  article  l)y  AL  Lhrillo  in 
Forma,  1904.  A^ol.  I,  pp.  259-279. 

[217] 


M.,  Ad.  Une  annee  en  Espa^^^iie  par  iin  jeiine  Ame- 
ricain.  (In  Revue  Encyclopedique.  Vol.  L,  pp. 
328-33  L) 

A review  of  year  in  Spain  l)y  a young 
American,  by  Alexander  Slidell. 

MacColl,  Dugald  Sutherland.  Erancisco  Jose  de 
Goya  y Lucientes.  {In  his  Nineteenth  century 
art.  London,  1913.  Pp.  43-45.) 

Madrazo,  Pedro  de.  Catalogo  de  los  cuadros  del 
Museo  Nacional  de  Pintura  y Escultura.  Mad- 
rid, 1903.  Pp.  111-118.) 

Goya.  (In  Almanaque  de  la  Ilustracion 

Espahola  y Americana.  1880.) 

Viaje  artistico  de  tres  siglos  por  las 

colecciones  de  cuadros  de  los  reyes  de  Espaha. 
Barcelona,  1844.  P.  301. 

Mantz,  Paul.  Archives  de  Tart  Erancais.  Paris, 
1842. 

Erancisco  Goya.  {In  Dictionnaire  de 

la  conversation  et  de  la  lecture.  Paris,  1855. 
Vol.  X,  pp.  414-415.  ) 

Alarti  y Monso,  Jose.  Estudios  historico-artisticos 
relativos  principalmente  a Valladolid.  Madrid, 
no  date.  Pp.  473-474. 

[218] 


Martinez,  Jose.  Diseiirsos  practicables  del  nobil- 
isimo  arte  de  la  pintura.  Madrid,  1866.  Ap- 
pendix no.  Ill,  pp.  209-213. 

iMartinez,  Vagiies,  F.  Vn  hallazgo  artistico ; cinco 
pasteles  de  Goya.  ( In  La  Ilnstracion  Espanola 
y Americana.  Madrid,  September  22,  1915. 
Vol.  LIX,  no.  35.) 

Masterpieces  of  Goya.  London,  1910.  Gowan’s 
Art  Books.  N^o.  26. 

Mather,  Frank  Jewett,  /r.  Goya  and  his  art.  {In 
The  XAtion.  N^ew  York,  1914.  Vol.  XCIX, 
pp.  447,  479-481.) 

Goya  and  Los  Desastres  de  la  Gnerra. 

{In  The  Print  Collector’s  Quarterly.  April, 
1915.  Vol.  V,  no.  2,  pp.  17L190.) 

Olatheron,  Lanrent.  Goya.  Paris,  1858. 

Goya;  Traduccion  de  G.  Belmonte 

Midler.  Madrid,  1890.  (Biblioteca  Universal ; 
Coleccion  de  los  me j ores  antores  antignos  y 
modernos  nacionales  y extranjeros.  Tomo 
CXXVI.) 

Idle  appendix  contains  articles  by  Valetin 
Carderera,  Jose  Caveda  and  Pedro  de  Madrazo, 
and  poems  addressed  to  Goya  by  Leandro  Fer- 
nandez de  Oloratin  and  Mannel  Jose  Qnintana. 

[219] 


Mayer,  August  L.  Bildnisse  aus  dem  Kreis  des 
j ungen  Goya.  {In  Monatshefte  fur  Kunstwis- 
senschaft.  Leipzig,  1914.  Jahrg.  VII,  pp.  385- 
389.) 


Los  cuadros  del  Greco  y de  Goya  de  la 

coleccion  Nemes  en  Budapest.  (In  Museum. 
1911.  Vol.  I,  no.  12,  pp.  459-468.) 

■ Die  Gemaldesammlung  des  Bowes- 

Museums  zu  Barnard  Castle.  (In  Zeitschrift 
fiir  bildende  Kunst.  1912.  Neue  Folge.  Jahrg. 
XLVII,  pp.  99-104.) 

Pinocoteca  de  Munich ; los  cuadros 

Espaholes  recientemente  adquiridos.  {In  Mu- 
seum. 1912.  Vol.  II,  no.  8,  pp.  294-301.) 

Meier-Graefe,  Julius.  Der  Beitrag  Spaniens  and 
Die  erschiessung  Maximilians.  {In  his  Edouard 
Manet.  Munich,  1912.  Pp.  49-85,  182-193.) 

Spanische  Reise.  Berlin,  1900.  P.  75. 

Mel i da,  Enrique.  Los  desastres  de  la  guerra.  {In 
El  arte  en  Espafia.  Madrid,  1863.  Vol.  II,  p. 
266.) 

Mesonero  Romanos,  Manuel.  Goya.  {In  his  Goya, 
Moratin,  Melendez  Valdes,  y Donoso  Cortes. 
Madrid,  1900.  Pp.  43-62.) 

[220] 


Mesonero  Romanos,  Manuel.  Las  sepulturas  de 
los  homl^res  ilnstres  en  los  cementerios  de 
Madrid.  Madrid,  1898.  Pp.  94-99. 

Mommeja,  J.  Un  tableau  de  Go)^a  du  Musee  de 
Lille.  {In  Gazette  des  Beaux-Arts.  1905.  Troi- 
siGne  periode.  Vol.  XXXIV,  pp.  39-42.) 

With  an  etching  by  A.  Majeur. 

iMoratin,  Leandro  Fernandez  de.  Silva  a D.  Fran- 
cisco Goya,  insigne  pintor.  {In  his  Obras  de  D. 
Leandro  Fernandez  de  Moratin.  Madrid,  1831. 
Vol.  VI,  pp.  326-327.) 

iMoreno,  Silverio.  Goya.  (In  La  Revista  Con- 
temporanea.  Madrid,  1900.  Vol.  CXVIII,  pp. 
53-64,  163-176.) 

Muther,  Richard.  Francisco  de  Goya.  London, 
1905. 

■ Goya.  Berlin,  1906. 

Geschichte  der  Malerei  im  18.  und  19. 

Jahrhundert.  Alunich,  1893.  Vol.  Ill,  pp.  135- 
146. 


The  history  of  modern  painting.  Lon- 
don, 1895.  \T4.  I,  pp.  66-78. 

[221] 


Muther,  Richard.  The  history  of  painting:  From 
the  fourth  to  the  early  nineteenth  century.  New 
York  and  London,  1907.  Vol.  II,  pp.  758-760. 


Studien  und  Kritiken.  Vienna,  1900. 

P.  365. 

Nait,  Antoine  de.  Les  eaux-fortes  de  Goya.  Los 
caprichos  gravures  fac-simile  de  Segui  y Riera. 
Paris,  1888. 

Notice  des  tableaux  esposes  jusqu’a  present  dans 
le  Musee  Royal  de  Peinture  an  Prado.  Madrid, 
1823.  Pp.  25-26. 

Oertel,  Richard.  Francisco  de  Goya.  Leipzig, 

1907.  (Kunstler-Monographien.  No.  89.) 

• Goya.  {In  Velhagen  & Klasings 

Monatshefte.  1904-1905.  Jahrg.  XIX,  pp. 

642-666.) 

Ossorio  y Bernard,  Manuel.  Galeria  biografica  de 
artistas  Espaholes  del  siglo  XIX.  Madrid,  1868. 
Vol.  I,  p.  311. 


Pardo  Bazan,  Emilia,  condcsa  dc.  Goya.  {In  La 
Lectura.  1906.  Aho  VI,  no.  67,  pp.  233-252.) 
[222] 


Peintres  Espagnols ; Francisco  Goya  y Lucientes. 
i\Iagasin  Pittoresque.  Paris,  1834.  Pp. 
324-325.) 

PGie  dll  Bois,  Guy.  Greco,  Goya  and  Velazquez, 
the  three  pillars  of  Spanish  art.  {In  Arts  and 
Decoration.  New  York,  1915.  Vol.  Y,  pp. 
181-184.) 

Perez  de  Guzman  y Gallo,  Juan.  Las  pinturas  del 
palacio  ducal  de  Berwick  y de  Alba.  {In  La 
Espaha  Aloderna.  1912.  No.  281,  pp.  6,  12, 

17-) 

A review  of  Catalogo  de  la  coleccion  de  pin- 
turas del  Excmo.  Sr.  Duque  de  Berwick  y de 
All)a,  by  Angel  M.  de  Barcia.  IMadrid,  1911. 

Petit,  Fernand.  Goya.  [ In  his  Notes  snr  I’Espagne 
artistiqne.  Lyon,  1878.  Pp.  62-63.) 

Pictures  acquired  by  Mr.  Archer  \l.  Huntington. 

( //z  Burlington  ^Magazine.  January,  1908.  \^ol. 
NIL  pp.  232-233.)^ 

Plot,  EngGie.  Catalogue  raisonne  de  I’oenvre  grave 
de  Goya.  ( In  Le  Cal)inet  de  I’Amateur  et  de 
IWntiquaire.  Paris,  1842.  Yo\.  I,  p.  346.) 

Portrait  of  Don  Juan  Jose  Perez  jMora  lyv  Fran- 
cisco de  Goya.  (In  ^Dsthetics.  Olnskegon, 
Michigan,  1913.  VMl.  I,  pp.  54-57.) 

[223] 


Portrait  of  a Lady;  Goya  y Lucientes.  {In  The 
art  treasures  of  Great  Britain;  edited  by  C. 
PL  Collins  Baker.  London  and  Toronto. 
No  date.  Pt.  4.) 

Quintana,  Manuel  Jose.  A mi  amigo  D.  Francisco 
Goya  enviadole  el  libro  de  mis  poesias.  {In 
Vihaza,  Cipriano  Munoz  y Manzano,  conde  de. 
Goya,  su  tiempo,  su  vida,  sus  obras.  Madrid, 
1887.  Pp.  54-56.) 

This  poem  was  first  published  in  a literary 
supplement  of  El  Dia  issued  in  Madrid  about 
1880.  It  does  not  appear  in  collections  of  Quin- 
tana’s works. 

Rada  y Delgado,  Juan  de  Dios  de  la.  Frescos  de 
Goya  en  la  iglesia  de  San  Antonio  de  la  Florida : 
Grabados  al  agua  fuerte  por  D.  Jose  M.  Galvan 
y Candela  . . . texto  por  D.  Juan  de  Dios  de 
la  Rada  y Delgado,  precedido  del  in  forme  . . . 
por  el  Excmo.  Sr.  D.  Pedro  de  Madrazo.  Mad- 
rid, 1897.  16  pp.,  16  pi. 

Ramon  Melida,  Jose.  El  arte  de  Goya.  {In  La 
Ilustracion  Espanola  y Americana.  Madrid, 
November,  1900.  No.  44,  p 295.) 

\Jn  Morales  y un  Goya  existentes  en 

la  catedral  de  Madrid.  ( In  Boletin  de  la  Soci- 
edad  Espanola  de  Excursiones.  1909.  Vol. 
XVII,  pp.  1-8.) 


[224] 


Reinach,  Salomen.  Apollo.  New  York,  1908.  Pp. 
255-257,  313. 

Retratos  de  mujeres  por  Goya.  Madrid,  1909. 
( Los  grandes  maestros  de  la  pintura  en  Espafia. 
No.  II.) 

Ricketts,  Charles.  The  Spanish  school  and  the  art 
of  Goya.  {In  his  The  art  of  the  Prado.  Bos- 
ton, 1907.  Pp.  127-143.) 

Rios,  R.  de  los.  L’exposition  des  cenvres  de  Goya 
a Madrid.  ( In  La  Chroniqne  des  Arts  et  de  la 
Cnriosite.  Paris,  August,  1900.  No.  28,  pp. 
286-288.) 

Rothenstein,  William.  Goya.  London,  1900.  {In 
The  Artist’s  Library.  No.  4.) 

Sanchez  de  Neira,  J.  Dos  Aragoneses.  {In  La 
Lidia.  Madrid,'  April  1,  1894.  Aho  NIII, 
no.  2.) 

Schnette,  ^1.  Vier  lithographische  Einselldatter 
von  Goya.  {In  Jahrbnch  der  kOniglich  prensz- 
ischen  Kimstsammlnngen.  Berlin,  1905.  Band 
NNVI,  p.  136.) 

Schnlze-Berge,  A.  Einiges  hl)er  die  Goya-ansstell- 
nng.  Aladrid,  Alay,  1900.  {In  Zeitschrift  fhr 
l)ildende  Ennst.  1900.  Band  NVll,  pp.  229- 
234.  J 


[225] 


Sentenach  y Cabanas,  Narciso.  Catalogo  de  los 
cuadros,  escultiiras,  grabados,  de  la  antiqua  casa 
ducal  de  Osuna.  Madrid,  1896. 

■ Goya ; discipulos  y contemporaneos  de 

Goya.  {In  his  La  pintura  en  Madrid  desde  sus 
origenes  hasta  el  siglo  XIX.  Madrid,  1907. 
Pp.  203-238.) 

Los  grandes  retratistas  en  Espana ; 

Goya.  {In  Boletin  de  la  Sociedad  Espanola  de 
Excursiones.  Ano  XXL  II  trimestre,  1913. 
Pp.  73-88. 

XMtas  sobre  la  exposicion  de  Goya.  {In 

La  Espana  Moderna.  Madrid,  June,  1900.  No. 

138,  pp.  34-53.) 

Xaievos  datos  sobre  Goya  y sus  obras. 

{In  Historia  y Arte.  Vol.  I,  pp.  196-199.) 

Singer,  Hans  W.  Pictures  by  Goya  at  the  Galerie 
Miethke,  Vienna.  {In  Burlington  Magazine. 
1908.  Vol.  XIII,  no.  62,  p.  99.) 

Smith,  Gerard  W.  School  of  Aragon.  {In  his 
Painting,  Spanish  and  Erench.  London,  1884. 
Pp.  76-77.) 

L'art  Espagnol.  Paris,  1887.  Pp. 


Solvay,  Lucien. 
252-272. 


[226] 


Solvay,  Lucien.  Les  femmes  de  Goya.  {In  L’Art 
et  les  Artistes.  1906.  Vol.  II,  pp.  193-205.) 


Spielmann,  M.  H.  The  variousness  of  Goya.  {In 
The  Magazine  of  Art.  Fel)rnary,  March,  1902. 
Part  256,  pp.  130-135;  part  257,  pp.  161-164.) 

Stokes,  Hugh.  Francisco  Goya;  a study  of  the 
work  and  personality  of  the  eighteenth  century 
Spanish  painter  and  satirist.  New  York  and 
London,  1914. 

Stothert,  James.  French  and  Spanish  painters. 
Philadelphia,  no  date.  Pp.  63-65. 

Stirling-Maxwell,  Sir  William.  Annals  of  the 
artists  in  Spain.  London,  1848.  Vol.  Ill,  pp. 
1260-1270. 

Temple,  A.  G.  Catalogue  of  the  exhibition  of  the 
works  of  Spanish  painters  at  the  Guildhall, 
London,  1901. 

Torino  y Monzo,  Elias.  Lucas,  nuestro  pequeho 
Goya.  I,  Antes  de  la  exposicion ; II,  La  dol)le 
exposicion  Lucas;  III,  Las  de  Lucas  que  pasan 
por  obras  de  Goya  y de  Velazquez.  {In  Arte 
Espahol.  1912.  Vol.  I,  no.  4,  pp.  150-160;  no. 
5,  pp.  220-245.) 


[227] 


Tormo  y Monzo,  Elias.  La  pintura  Aragonesa. 
Cuatrocentista  y la  retrospectiva  de  la  exposi- 
cion  de  Zaragoza  en  general.  {In  Boletin  de 
la  Sociedad  Espanola  de  Exciirsiones.  Madrid, 
1909.  Vol.  XVII,  pp.  .282-285.) 

Las  pinturas  de  Goya  con  motivo  de  la 

exposicion  de  sns  ol^ras  en  Madrid.  {In  Re- 
vista de  la  Asociacion  Artistico,  Arqueologico- 
Barcelonesa.  Barcelona,  1900.  Vol.  IV,  p. 
585.) 


— Varios  estiidios  de  artes  y letras ; Las 

pintnras  de  Goya  y su  clasificacion  cronologica. 
Madrid,  1902.  P.  223. 

Tyler,  Royall.  Spain  ; a study  of  her  life  and  arts. 
New  York,  1909.  Pp.  69,  101,  219,  248,  252, 
255,  297,  300-301,  305-306,  475,  477,  479-480, 
515,  530. 

Utrillo,  VI.  Liigar  de  Goya  en  la  pintura.  {In 
Eorina.  Barcelona,  1904.  Vol.  I,  pp.  259-279.) 

Valient,  J.  Erancisco  Goya.  {In  Encyclopedie  du 
XIX  siecle.  Paris,  1852.  Vol.  XIII,  p.  631.) 

Viardot,  Louis.  Ecole  de  Madrid.  {In  his  Les 
inusees  d’Espagne.  Paris,  1860.  P.  152.) 

[228] 


Viardot,  Louis.  Estiidios  so1)re  la  historia  de  las 
institiiciones,  literatura,  teatro  y bellas  artes  en 
Espana.  Obra  escrita  en  Erance  por  M.  Luis 
Viardot  y traducida  al  Castellano  por  D.  Man- 
uel de  Cristo  Varela.  Logrono,  1841.  P.  277. 

Notices  sur  les  principaux  peintres  de 

I’Espagne.  Paris,  1839.  Pp.  305-308. 

and  others.  The  school  of  Castile; 

Erancisco  Goya  y Lucientes.  (In  An  illustrated 
history  of  painters  of  all  schools.  London, 
1877.  Pp.  229-230.) 

Vihaza,  Cipriano  Munoz  y Manzano,  comic  dc. 
Adiciones  al  diccionario  historico  de  los  mas 
ilustres  profesores  de  las  l)ellas  artes  en  Espagne, 
de  Don  Juan  Augustin  Cean  Bermudez.  Mad- 
rid, 1889-1894.  Vol.  IT,  pp.  240-242. 

Goya,  su  tiempo,  su  vida,  sus  obras. 

^ladrid,  1887. 


Goya.  (In  Revista  Contemporanea. 

1882.  No.  164,  pp.  153-178:  no.  165,  ])p.  340- 
352;  no.  166,  pp.  427-438. ) 

W ashburn,  Emelyii  W.  The  Spanisli  masters. 
New  hhjrk,  1884.  IJ).  182-186. 

[229] 


Watsin,  M.  and  Stassow,  W.  Francisco  Goya. 

In  Russian. 

Williams,  Leonard.  The  art  of  Joaquin  Sorolla. 
(In  Catalogue  of  paintings  by  Joaquin  Sorolla 
y Bastida  exhil)ited  by  the  Hispanic  Society  of 
America,  February  8 to  March  8,  1909.  New 
York,  1909.  Pp.  24-28.) 

Woltmann,  Alfred  Friedrich  Gottfried  Albert  and 
Woermann,  Karl.  Geschichte  der  Malerei. 
Leipzig,  1888.  Vol.  Ill,  pp.  937-941. 

Woods,  Margaret  L.  Pastels  from  Spain;  portraits 
by  Goya.  (In  The  Cornhill  Magazine.  Lon- 
don, 1900.  Vol.  IX,  pp.  289-304.) 

Wyzewa,  Teodor  de.  (Theodor  de  Wyzewski.) 
Goya.  (In  his  Les  grandes  peintres  de  I’Es- 
pagne  et  de  I’Angleterre.  Paris,  1891.  Pp. 
79-87.) 

Les  peintres  Espagnols  et  Itabens.  (In 

his  La  peinture  etrangere.  No  place,  no  date. 
Pp.  75-126.  Les  chefs  d’oenvre  de  I’art  an 
XlXe  siecle.) 

Yriarte,  Charles.  Goya;  sa  biographie,  les  fresques, 
les  toiles,  les  tapisseries,  les  eanx-fortes,  et  le 
catalogue  de  rcenvre.  Paris,  1867. 

[2301 


Wiarte,  Charles.  Guya  aquafortiste.  ( In  L’Art. 
Paris,  1877.  Vol.  II,  pp.  1,  33,  56,  78.) 


Zapater  y Gomez,  Franeisco.  Apiintes  historico- 
biograficos  acerca  de  la  escuela  Aragonesa  de 
pintiira.  Madrid,  1863. 

Goya ; iioticias  Idograhcas.  Zaragoza, 

1868. 

First  published  in  La  Perseverencia ; Diario 
Catolico.  Zaragoza,  1868.  Vol.  IV,  no.  5714. 


[231] 


Printed 

At  the  Sign  of  the  Ivy  Leaf  in  Sansom  Street 
Philadelphia 


GETTY  CENTER  LIBRARY 


3 3125  00772  3345 


